OMA envelopes Buffalo art museum extension in transparent "veil"

OMA’s New York office led by architect Shohei Shigematsu has completed an expansion to Buffalo’s AKG Art Museum that features a promenade encased in a glass facade.

Architecture studio OMA added the Jeffrey E Gundlach Building to the complex of buildings that make up Buffalo’s AKG Art Museum – an institution that lies on a park designed by American landscape architect Frederick Law Olmsted in the northern part of the city.

Art museum expansion by OMA
Buffalo’s AKG Art Museum has been expanded by OMA

The studio expanded the programming of the current museum while leaving openings to better connect the park to the city, noting that the existing configuration of buildings “command a clear separation” from the park.

OMA’s structure is adjacent to but separate from the existing structures – a 1905 neo-classical building by American architect Edward B Green and a 1962 modernist expansion by Gordon Bunshaft, both of which were also renovated by OMA.

Glass interior of OMA-designed museum extension
Light filters through the glass facade

The extension’s massing is in the shape of a”plus sign”, which the studio said denoted the addition of the building to the complex, and the primary structural material for the building is steel.

This plus sign-shaped structure was highlighted on the facade with a cladding of White Vermont Danby Montclair marble, which creates a connection of the neo-classical building.

The extension’s massing is in the shape of a”plus sign”

The marble cladding outlines the main concourse of galleries in the centre of the structure, a series of stacked boxes.

Wrapped around this steel and marble central structure is an expressive glass facade made from 540 panels that creates lines of sight through the structure to the park and reveals a promenade that wraps around the second storey of the three-storey museum.

Promenade of museum in Buffalo
The perimeter is left open for circulation through the promenades

“The promenade and stack of efficient galleries are enveloped by a transparent facade that achieves an open and ephemeral quality,” said OMA.

“This ‘veil’ covers the promenade to form a double-height buffer zone between nature and art.”

Central gallery in glass-clad extension
Most of the galleries lie in the centre

Most of the 55,200 square-foot (5,128 square metre) structure’s galleries lie in the centre, while the perimeter is left open for circulation through the promenades.

The first floor of the structure holds five galleries, with a variety of offices, theatres and circulation points arranged around the four corners. The floors are of pink terrazzo in the lobby and transition to stone chip throughout the other areas.

Spiral staircase within OMA-designed museum extension
A long spiral staircase sits adjacent to the entrance

A long spiral staircase sits adjacent to the entrance and circulates museum visitors around a large structural column through the different levels of the structure.

The second storey holds the promenade, which is large enough to hold large-scale sculptures, with another gallery space in the enclosed core that extends up from the ground floor.

Winding, glass-clad bridge
This level also has access to a winding, glass-clad bridge

This level also has access to a winding, glass-clad bridge that connects the building to its neo-classical neighbour and provides expansive views of Delaware Park.

The top floor holds the single largest gallery, an expansive space with 16-foot-tall (4.8 metres) ceilings. The studio noted that this space has only two permanent structural columns, which are “both mirrored and cruciform”.

Parking for the structure was placed underground to not interfere with the landscaping that connects the three structures.

The renovation of the existing structures included a new roof for the 1905 building. The 1962 structure was given a new entrance that connects it to the park and its central courtyard, which was open-air, has been enclosed by a massive glass installation by artists Olafur Eliasson and Sebastian Behmann of Studio Other Spaces.

Glass-clad extensino by OMA
The primary structural material for the building is steel

OMA has completed a number of additions to historic buildings in the United States, most recently adding a glass-box pavilion to the top of jewellery company Tiffany & Co.’s historic Manhattan flagship.

Other galleries recently completed by the studio, which was founded in 1975 by Dutch architect Rem Koolhaas, include the Tapei Performing Arts Center.

The photography is by Marco Cappelletti


Project credits: 

Partner: Shohei Shigematsu
Project Architect: Lawrence Siu, Paxton Sheldahl
Team: Gregory Serweta, Thomas Holzmann, Maxime Leclerc, Laura Baird, Patricio Fernandez, Napat Kiat-Arpadej,
Bartosz Kobylakiewicz, Claudia da Costa, Jesse Catalano, Tamara Jamil, Camille Bongard, Remy Bertin, Joanne
Chen, Federico Pompignoli, Jackie Woon Bae, Jan Casimir, Brian Tabolt, Daeho Lee, Philippe Audemard d’Alancon,
Yashar Ghasemkhani, Regan Dyer
Competition team: Laura Baird, Lawrence Siu, Jason Long, Daeho Lee, Maxime Leclerc, Ceren Bingol, Nicholas Solakian, Wesley Ho
Executive architect: Cooper Robertson
Landscape architect: Michael Van Valkenburgh Associates
Structure: Arup
MEPFP: Buro Happold
Civil: Wendel
Facade & waterproofing: Thornton Thomasetti
Exterior lighting: Arup
Museum lighting: Litelab
AVIT: Buro Happold
Code: Paul Battaglia
Historic preservation: Preservation Studios
Acoustics: Jaffe Holden
VT: Van Deusen & Associates
Specification writer: The Friday Group LLC
Cost: Cost Plus
Geotech: McMahon & Mann Consulting Engineers
Parking: Philip Habib & Associates
Graphic design: Wkshps with Once-Future Office
Town Square Roof, Common Sky: Studio Other Spaces – Olafur Eliasson and Sebastian Behmann

The post OMA envelopes Buffalo art museum extension in transparent “veil” appeared first on Dezeen.

Ten postgraduate architecture projects by Paris School of Architecture

Sectional view of a contraption with a rhino on it

Dezeen School Shows: a palace integrating bees to represent anthropocentric domestication is included in Dezeen’s latest school show by students at the Paris School of Architecture.

Also included is a speculative design project that imagines a near-future in which people select who they date through gene-screened ‘perfect matches’ and a project that explores the merits and drawbacks of recent advances in artificial intelligence.


Paris School of Architecture

Institution: Paris School of Architecture
School: Paris School of Architecture
Course: Masters in Architecture
Tutors: Henry Beech Mole, Yasemin Sahiner and Martin Tubiana

School statement:

“Paris School of Architecture is an experimental and innovative new architecture school with an international focus based in central Paris.

“It is the only entirely postgraduate architecture school in France teaching solely in the English language and prepares its graduates to operate across Europe and the rest of the world.

“Paris School of Architecture is pedagogically radical. It is the first new independent school of architecture in Paris in over a century, created in response to the radical changes over the last decade, and the changing nature of architectural practice today.

“The incubative pedagogical model at PSA – which places emphasis on each students’ individual ideas and research – critically engages with the contradiction and dilemma of the world today, critiquing intrenched design values to pose alternative ‘micro-fictions’.

“Moving away from the instructive pedagogical methods of the past, it is a place for the incubation and development of each student’s individual ideas, situated within the context of a support network of practicing architects and designers.

“The students’ work exhibited at this year’s show design instead for the diversity and unpredictability of the metropolis, always questioning unofficial motives, human desires and offering uncompromising versions of the future.”


Rendering of a futuristic building with clouds around it

Dissension by Vanessa Bauer

“This critical design project depicts a future where an accelerated rise of climate change, pollution and water scarcity has provoked an impossible status quo, which thus creates two main active political groups: the Earthlings who prioritise the salvation of the planet Earth and the Humans who prioritise their own health and wealth while exploiting nature for their own benefit.

“This project focuses on the Humans’ facility, situated in the East Paris region near the Marne river, which serves as one of the headquarters where they live, work and produce their own food and water.

“The productive dwelling hub embodies their vision of a nature-detached and technology-driven future in the form of a strategic water and infrastructural crossroad.

“By emphasising innovation, self-sufficiency and advanced water filtration, this project questions the complex relationship between nature and human wellbeing in the face of environmental challenges.”

Student: Vanessa Bauer


Tall sectional view of Montparnasse tower

The Tower of Sins by Laura Tissen

“In this critical design project, a tale unfolds featuring an egoistic and opportunistic tech tycoon, who ascends to power with manipulative tactics, exploiting the short attention span of energy crypto and the superficiality of political alliances.

“Beneath the polished facade lies the manifestation of his own desire – a yearning for pleasure, power and debauchery.

“Montparnasse Tower becomes the embodiment of sins – a realm where he can indulge in lavish parties, explore the limits of pleasure and assert his dominance over the masses.”

“The project challenges the notions of societal manipulation, the superficiality of alliances and the human longing for liberation from societal norms.

“It invites reflection on the intricate interplay between pleasure, guilt, and the pursuit of power, all encapsulated within the sinful confines of Montparnasse Tower.”

Student: Laura Tissen


Rendering of a view through a gridded window onto a lounge area

Vivid by Samuel Spindler

“As a temporary solution (in order to prevent climate catastrophe) our society has been transformed into deindividualised servants that were offered a cyber-rebirth in exchange for their sacrifice of fulfilment.

“In a world where the poisonous metaphysical causes a severe addiction, our senses are in true danger of dying.

“The Sanatorium of Mother Vivid is an institution that functions as the antidote to this trauma and a safe haven for the incurable.

“It forces the body to feel again as well as it lets the mind roam free – one eye sees, the other feels.”

Student: Samuel Spindler


Angular view of a self-sufficiency centre

The Scarcity Mindset by Mazen Alameddin

“This project was derived in response to an environmental crisis, the dawn of a a hyper-nationalist era and an unequal division of resources between citizens and settlers.

“This new paradigm shift embraces the concept of scarcity through self-sufficiency and sustainable design.

“The scenario proposes that even under extreme conditions, limited resources can lead to a more adaptive, efficient and improved design and way of living.”

Student: Mazen Alameddin


Visualisation of a lecture hall-style space with a fragmented ceiling

Public Sphere: Architecture of the Protest by Oluwaremilekun Ojumu

“This is a critical design project that delves into a speculative future scenario where an all-encompassing social network dominates the public domain.

“Drawing inspiration from the ancient Greek Agora, it examines the potential of architecture to facilitate mass expression and demonstration, highlighting the need for intentional design to foster inclusive and representative public spaces.

“At its core, the project presents an evocative underground headquarters, inspired by Oscar Niemeyer’s Siege du PCF, as a symbolic space of opposition to the pervasive control of the network.

“Exploring themes of protest architecture, free speech, the architect’s role in manifestations and the transformative influence of public squares, ‘Architecture of the Protest’ encourages contemplation on the profound impact of design in building communities and promoting societal transformation.”

Student: Oluwaremilekun Ojumu


Aerial map of city with different colour-coded segments

Codified by Yael Saadia Dickter

“Codified is an open criticism towards current and increasing political disengagement across the world, which envisions a new form of society – today’s nation states as we conceive them disappear and are replaced with a new ‘tribal system’.

“Individual ideologies become the main driver to form this new society, which is managed through an axis-based algorithm inspired by the concept of social media to keep people constantly engaged.

“These ideological axes, freeze and form clusters of people called ‘tribes’, composed by active participants that share common values.

“As a result of this new tribal segmentation, certain geographical regions remain as “neutral zones” where tribes come together and leverage each of these areas as a neutral place of encounter and exchange of knowledge.”

Student: Yael Saadia Dickter


Aerial view of streamlined rocket ship

Wahmy by Helmi Mhiri

“In a speculative future, humanity boldly severs the chains of nature, embracing a destiny of technological augmentation and cybernetic transcendence.

“Guided by the sentient AI known as Wahmy, they forge a path towards a multi-planetary existence, sculpting a new chapter in human evolution among the lunar crater Timocharis.

“As a relic of the earth-bound phase in the evolution of our species, the Timocharis outpost contains within its demountable architecture a fragment of the centre of Paris, long since lost.

“This fragment of the era of multi-planetary habitation serves a spiritual function – a memory of what was lost and how adversity was overcome.”

Student: Helmi Mhiri


Visualisation of skeletons in tubes with diver swimming by in the background

A Plague on Both Your Houses by Fanney Margrét Eiríksdóttir

“In the wake of the energy crisis following Russia’s invasion of Ukraine, the French government established a new LNG importation facility in the mouth of the Seine.

“Desperation following the fall-out from the resulting energy crisis forced the EU to sanction what then became a free port in France’s otherwise high-tax jurisdiction.

“The free port was leased to Europe’s largest company, luxury goods conglomerate LVMH. This has seen the benefit – in relation to recent trends based on the use of biological materials (in fashion and the fetishisation of bodily elements of celebrities to produce luxury products).

“The deregulated and low-tax free-port inevitably attracts the wealthy. It also opens the opportunity for advancements in controversial sectors of the rising biotechnology industry, free from regulations constraining scientific testing with biological materials.

“The resulting secluded micro-state ‘Le Péché’ combines disparate activities at the extremes of production and consumption, where the ultra-righteous scientific knowledge workers exist in close proximity to the cancel-worthy super-rich.

“Le Péché is a free-port where people with extremely opposed life principles are forced to coexist, ending in dire consequences.”

Student: Fanney Margrét Eiríksdóttir


What’s in a name? by Paula Glindemann

“If you could ensure that your children had the chance for a perfect life, you would do it, wouldn’t you?

“Free from genetic disease, with the greatest physical and intellectual prowess, destined for high-worth careers and incredible longevity in the best of health.

“‘What’s in a name?’ is a critical design project which imagines, through a corporate tie-up between genetic editor CRISPR and dating app Tinder, a near-future in which people select who they date and reproduce with through gene-screened ‘perfect matches’.

“The gene screening technology allows users to find a reproductive partner who is their genetically ‘ideal’ counterpoint so they may conceive their ‘perfect’ child.

“This project explores these emerging trends through the creation of an annual festival that gives their participants the opportunity to select and reproduce with other people purely based on genetic advantage.”

Student: Paula Glindemann


Graphic image of AI system

Liberty/Overrule by Anna Ludmann

“On 12 July 2022, text to image generative AI MidJourney was launched, only four months’ before ChatGPT, an artificial intelligence chatbot was made available by OpenAI.

“Both releases are part of a wider ecosystem of generative AI developments within the last 12 months that will have profound effects on the future of work, creativity, employment, intellectual property, the infrastructural systems, and politics, to name but a few.

“This project, entitled Liberty/Overrule intends to explore and critique these emerging technologies and their application to society, as well as their use as a design tool in architecture and urbanism.”

Student: Anna Ludmann


Futuristic rendering of a former airport clad in red, white and blue

Built-over by Gauri Sunil Mali

“This critical design project explores a potentially radical reaction to globalisation in a post-war world caused by hyper-nationalised repatriation.

“In a scenario where all borders – except trade and the internet – are closed while countries look for inward betterment, an ecological reward system is implemented to sponsor vacations to foreign lands.

“How does architecture respond to build over geopolitically-charged tourism?

“The commission of a grand village of tourism is situated on a reclaimed forest (previously a gunpowder factory) in close proximity to CDG airport from which holidaymakers arrive by Aero-train.

“Aeroplanes that are no longer needed are retrofitted and reused to build an urban architecture above the trees, preserving them and the local population’s right to the land, while keeping a controlled separation in a choreographed glimpse of Paris within itself.”

Student: Gauri Sunil Mali


Sectional view of a contraption with a rhino on it

The Animals and Their Layla by Eyub Acikgoz

“The following project functions as a fable – it looks to history to critique our treatment of animals and each other within our current context in order to question our future.

“With every leap in technology and civilisation, comes consequences – yet the same stories are told with different characters and different settings.

“Having developed postpartum depression in a society of digital idolatry, a queen from a genetically modified celebrity bloodline commissions several subversive, animal-centric programmes on the grounds of her architectural confines in the Trianon Estate of Versailles.

“The project provocatively positions three works symbolising different human-animal relationships: a snow leopard menagerie to represent idealized wilderness, a new palace integrating bees to represent anthropocentric domestication, and a rhinoceros bone farm to represent green-washed industrial exploitation.”

Student: Eyub Acikgoz

Partnership content

This school show is a partnership between Dezeen and Paris School of Architecture. Find out more about Dezeen partnership content here.

The post Ten postgraduate architecture projects by Paris School of Architecture appeared first on Dezeen.

Core77 Weekly Roundup (6-12-23 to 6-16-23)

Here’s what we looked at this week:

Product designer Soren Iverson creates these hilarious “unhinged” UI design features.

“United feature to ‘duel’ people for their seat”

“iMessage typing indicator that shows length of the message”

“Facebook feature to tell you if people read the article before sharing”

Turns out an Architecture student’s project made Notre Dame’s restoration possible. And for the reconstruction of the cathedral, ancient timber framing tools and techniques are being used.

When “horizontal/vertical” won’t cut it: Here are the proper terms to describe axes or planes, relative to the human body.

We asked if any of you know what this type of (French?) door latch is called.

The U.S. Supreme Court ruled 9-0 against parody product designs. Jack Daniel’s prevailed over VIP Products, a company that makes a squeaky toy for dogs that looks like a Jack bottle.

Here are dozens of different design solutions for wheelchair + sandy beaches.

German manufacturer Ritter makes these incredible disappearing food slicers that fold into a kitchen drawer.

This transforming Air4All airplane seat has been designed to accommodate powered wheelchairs, allowing their users to remain in them during the flight.

As an American, this assault-rifle-shaped camera mount might be the stupidest product design I’ve ever seen. We asked our foreign readers if they agree.

Seth Rogen’s Houseplant Brand offers a variety of concrete and cast iron cannabis accessories.

As an Industrial Design student at Germany’s Academy of Design, Jonas Finkeldei designed this integrated salt & pepper shaker. The dual-chamber design features a slider that controls which aperture is opened.

From Japan (of course) and the mind of designer Yuma Kano come these Smiley Screws. Anti-tampering fasteners with smiley face heads.

The Telo is an Yves-Behar-designed micro pickup truck EV. Billed as an “urban adventure vehicle,” it’s scheduled to hit streets in 2025.

No more Pyrex? Parent company Instant Brands, which also owns Snapware and Corningware, has filed for bankruptcy.

Swedish design studio Avolt’s Square 1 reimagines the extension cord as objet d’esign.

Doing a lot with a little: Asked to come up with a $3 folding wall hook for Ikea, Kutarq Studio designed this KLYKET.

We asked Yea or Nay: The light bulb as a design object in its own right? Philips reckons their LED technology can make pendant shades obsolete.

Samsung’s new Odyssey OLED G9 ultrawide monitor. How long do you think these will actually be a thing, before goggles take over?

Researchers have found that plastic cutting boards shed microplastics during use.

Lualdi's design process opens up "creative possibilities with materials and textures"

Promotion: Italian door brand Lualdi says that 2023 marks a new focus in its design process as it aims to create products with experimental combinations of textures and materials.

Lualdi shifted its design philosophy in a bid to create new door aesthetics by exploring the creative use and combination of traditional materials, such as wood, fabric, glass and aluminium.

The Wall&Door system
The Wall&Door system comes with a series of bright shelves and is presented in a grey oak finish, embellished with black aluminium inserts

Many of the brand’s latest products and collections were designed to play with light from different perspectives and open up a range of “creative possibilities” from the overlapping of materials to new surface textures.

“All the new finishes play with light from technically different perspectives, opening up to a wide range of creative possibilities, from surface processing to overlapping patterns and the combination of different materials,” said Lualdi.

The L7 sliding system
The L7 sliding system is enriched with a Liquorice glass pattern, designed by Piero Lissoni

One example is the brand’s L7 door collection, which was presented as part of the furniture fair Salone del Mobile during Milan design week 2023.

The collection, made in collaboration with architect Piero Lissoni, explores the use of glass and aluminium.

According to Lualdi, this is shown not only by the collection’s patterns, created with the materials, but also through how they are used together.

Flutes Mini glass finish
L7 sliding system with Flutes Mini glass finish and titanium aluminium profile

For example, L7 Edit, which is part of the L7 door collection‘s glass panels, are lined with aluminium stripes that intend to add a “rhythmic feel” to the product and provide a fence-like silhouette to the design.

Lualdi is also on a “quest to discover wood’s untapped potential”. The mix of materials aims to “inject furniture systems with energy” transforming pieces into flexible, cutting-edge architectural elements with a high decorative impact.

One example of this is the brand’s Koan sliding system, which was designed for Lualdi by Kokaistudios and is equipped with wooden strips.

L7 Edit sliding system
Many of the brand’s new products are designed to play with light from different perspectives. Image: L7 Edit sliding system with titanium aluminium strips and extra-clear glass

Similarly, the brand’s cladding solutions such as Tai Boiserie feature a symmetrical alternation of wooden geometric designs across walls and doorways, which aim to add warmth and unity to interior spaces.

The graphic combinations of shadows and lines are designed to “breathe fresh life into wood’s inherent solidity”.

The Koan sliding system designed by Kokaistudios includes wooden strips applied to the glass that extend vertically along the entire surface in a single size, framed by bronze aluminium profiles

“Lualdi also deepens the dialogue with fabrics and leathers, materials that increasingly define a reconciliation, a fusion almost, between the product and the world of furniture,” said the brand.

“These materials are used to demonstrate increasingly adaptable solutions capable of defining the visual style of the spaces they link.”

Tai boiserie
Cladding solution Tai boiserie features a symmetrical alternation of wooden geometric designs

Lualdi is an Italian design company founded in 1859, specialising in interior doors. It has showrooms in Milan, Miami, Los Angeles and New York.

To view more about Lualdi’s products or its approach to materials and design, visit its website.

Partnership content

This article was written by Dezeen for Lualdi as part of a partnership. Find out more about Dezeen partnership content here.

The post Lualdi’s design process opens up “creative possibilities with materials and textures” appeared first on Dezeen.

Surprise: Plastic Cutting Boards Shed Microplastics During Use

A research report titled “Cutting Boards: An Overlooked Source of Microplastics in Human Food?” has been published by the American Chemical Society. The study, which measured the results of chopping carrots on both polypropylene and polyethylene cutting boards, revealed “plastic chopping boards [are] a substantial source of microplastics in human food, which requires careful attention.”

I suppose this shouldn’t be surprising; when you look at a well-worn plastic cutting board, with all of those grooves and scratches on it, where you suppose the removed material went? Into the environment, or the food, and into our bodies.

There are differences in the microplastic yields of using polyethylene versus polypropylene cutting boards, but both figure ranges still seem high: Based on the study, the researchers “estimated a per-person annual exposure of 7.4–50.7 g of microplastics from a polyethylene chopping board and 49.5 g of microplastics from a polypropylene chopping board.”

The researchers then conducted a toxicity study, on just the polyethylene particles, and found they “didn’t appear to significantly change mouse cells’ viability in lab tests,” if that’s any consolation. I’ll be sticking with wood all the same.

Also, just a heads-up: This was admittedly decades ago, but when I worked in restaurants, plastic cutting boards were common.

Brera seating system by Jean-Marie Massaud for Poliform

Brera seating system by Jean-Marie Massaud for Poliform

Dezeen Showroom: designer Jean-Marie Massaud aimed to create a clean, contemporary and warm seating system with Brera, a modular sofa for Italian brand Poliform.

Poliform describes the Brera system as creating a domestic landscape with a strong architectural quality and said Massaud began the design with an examination of the ideal characteristics of a sofa.

Brera seating system by Jean-Marie Massaud for Poliform
The Brera seating system features a leather-covered base and armrests

“A piece that ties together the living area by creating a place to share a time of pleasure,” said Poliform. “And a sofa that complements the style of the home with a classic feel translated into modern design.”

Brera can be ordered in an array of configurations, including classic linear shapes as well as curved forms that add interest to larger lounge areas.

Brera seating system by Jean-Marie Massaud for Poliform
The sofa is designed to look clean and contemporary

Among the seating system’s fine details are a slender, leather-covered base and armrests, which add a sartorial feel when seen alongside the fabric upholstery.

The armrest also functions as a shelf, and the upholstery can be ordered in a range of textured, neutral-coloured fabrics or muted leathers.

Product: Brera
Designer: Jean-Marie Massaud
Brand: Poliform
Contact: anastasiya.kolesnichenko@poliformusa.com

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.

The post Brera seating system by Jean-Marie Massaud for Poliform appeared first on Dezeen.

Samsung's New Odyssey OLED G9 Ultrawide Curved Monitor

This week Samsung launched their Odyssey OLED G9, their top-of-the-line ultrawide monitor aimed at gamers.

The curved object’s promises–complete immersion and a competitive advantage—explain why the category specifically targets gamers; the thinking is they’re the only ones willing to pay top dollar (this one runs $2,200) for those benefits. Thus the G9’s guts deliver the lightning-quick response times and refresh rates—0.03ms and 240Hz, respectively, if that means anything to you—that competitive gamers demand.

Unsurprisingly, the press photos show the monstrous 32:9 display on large desks. This concrete one looks like it was designed to disassemble a motorcycle on.

The programmable LEDs on the back, by the way, are to cast a glow behind the monitor in whatever color will help get you “in the zone.”

Press images are just press images, and I was more curious to see what this thing looks like on normal-person desks. Thankfully the monitor, which was still in the pre-order stage at press time, has already generated user reviews with user images. (The reviews are all stamped “INCENTIVIZED REVIEW,” so we can assume Samsung supplied some early-release monitors for free; unsurprisingly, every review is gushing.) The object is indeed enormous:

However, it doesn’t look as out-of-place as I’d expected. I’m guessing you get used to this thing and stop noticing it’s unusual pretty quickly, like with seeing a 3D movie.

As a non-gamer, I was initially puzzled by this shot of someone playing a first-person shooter:

Puzzled because the image is clearly stretched to match the monitor, which I figured is not desirable. I poked around in some gaming forums and learned that not all games can support the 32:9 aspect ratio, but that stretching the image still confers an advantage in FPS games, as the larger real estate increases the chances you’ll spot an enemy. (Was also surprised to learn that this is apparently not regarded as cheating.)

There are, however, games that do support the wider field of view, and it does indeed look more immersive.

At least one reviewer, upon receiving the G9, still couldn’t let go of their previous ultrawide monitor. This kind of set-up doesn’t look ergonomically tenable to me, but again, I’m not a gamer:

I was also interested to see people using the monitor for regular-person stuff. Like a lot of technology, this can either destroy your attention span (for instance, allowing you to shop, engage in social media and watch YouTube all at once)…

…or increase your productivity:

The increased productivity is an assumption on my part, as I don’t know what the user is actually doing in the photo above. But it would obviously be quite useful to have this wide of a screen: Working on a document in the center with reference material on one side and related correspondence on the other side.

Another application would be for degenerate gamblers who need to watch two games at once. (Though I doubt Samsung’s marketing team has a Post-It that says “degenerate gamblers” on their whiteboard.)

Despite all of the design and engineering resources that went into creating the G9, it is, like many of the things on our desks, not something that will be on our desks in ten years’ time. Apple’s Vision Pro is currently unaffordable for most and has drawn some press scorn; but I can’t imagine that in 2033 we’re still going to have gigantic glass rectangles on our desks. (And heck, maybe even the desks will go.)

Shaker kitchen by Reform

Shaker kitchen by Reform

Dezeen Showroom: Danish brand Reform has launched a new kitchen design named Shaker, which pays homage to the domestic interiors of an 18th century movement called Shakers.

The Shaker kitchen references the interiors of the Shakers – sometimes dubbed “the first minimalists” and associated with furniture and homewares such as ladder-back rocking chairs and oval wooden boxes.

Shaker kitchen by Reform
The Shaker kitchen nods to the craft tradition of the Shakers

“Serene and sensible, its ideas still deeply resonate with contemporary design and life,” said Reform, which has designed the highly customisable kitchen to have a utilitarian look that also recalls traditional crafts.

An embossed frame on the cupboard doors and drawers is a further nod to the attributes of traditional Shaker kitchens.

Shaker kitchen by Reform
The kitchen fronts feature an embossed frame

There is a wide range of options for the fronts, including natural oak or coloured, spray-painted ash veneer that allows the wood grain to show through.

Reform launched Shaker at 3 Days of Design in Copenhagen alongside another kitchen design named Plain as well as a new series of handles called Atelier, which can be added to any kitchen.

Product: Shaker
Brand: Reform
Contact: rikkebodker@reformcph.com

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.

The post Shaker kitchen by Reform appeared first on Dezeen.

Yea or Nay: The Light Bulb as a Design Object in Its Own Right

The reason that we have design classics like George Nelson’s Saucer Bubble Pendant and Poul Henningsen’s PH5 Pendant Lamp

…is a function of, or rather reaction to, the technology of the 1950s. Incandescent bulbs cast a harsh glare that designers needed to mask.

Talented designers like Nelson and Henningsen made their utilitarian objects beautiful. However, bulb manufacturer Philips reckons LED technology can make the lampshade obsolete. Their Ellipse smart bulb is intended to be a design object in its own right.

The Ellipse has a 2,000-6,500 Kelvin range and is capable of producing millions of colors. It’s dimmable from zero to 500 lumens.

“No, I DIDN’T hang them too low. If you don’t want to bump your head into them, stop leaning over the table.”

The couples therapist recommended Lucy stay on the blue side of the room, David on the purple side.

“Let go of the plate, Hunter. You know the rules—you can eat after you provide the correct answer to the math question we asked you.”

The bulbs run a steep $90 a pop (though for scale, the Saucer Bubble and PH5 run $445 and $1,224 each) and bring a degree of technical complication: They’re adjusted via a smartphone app. They can also be connected (though not color-adjusted) to a proprietary Philips Hue dimmer switch or motion sensor, or voice-controlled with the self-installed domestic spyware known as a smart home assistant.

How a touch controller for Apple Vision Pro will enhance gaming in the Metaverse

Apple has created ripples in the VR market with the Vision Pro headset which has a strongly knitted hardware-software integration. The Cupertino giant graced the tech community with a surprise announcement at the WWDC in the first week of June, and ever since, the VR headset has made all the news.

Such is the magnanimity of the hardware showed off by Apple at the event, that just a couple of weeks into the announcement, third-party accessories makers are jumping on the bandwagon. There’s an opulent headband to embellish Apple’s first-ever wearable and we are bracing more accessories for the VR headset when it is finally up for grabs in early 2024.

Designer: Alex Casabò

Rendered on KeyShot: Click Here to Download Your Free Trial Now!

Just like the Meta Quest Touch Pro controllers that bring a new level of realism to VR gaming, the Apple VR headset is also destined for a similar accessory. This concept visualizes exactly how the Apple Vision Pro controllers would look and feel in an open-world Metaverse. Alex calls the accessory “Apple Vision Joystick Pro Max” and a proactive third-party accessory maker or even Apple would already be looking up that name to claim.

Perfectly complementing the headset’s modern appeal, these controllers for the Apple headset will be closely knit for smooth functionality no matter what open-world title you throw at them. The joysticks will maximize the gaming experience for all kinds of modern games keeping in mind the VR environment.

The top surface of the controller is donned with a touch-sensitive surface for smart controls like swaying the sword or reloading a potent sniper rifle. A trigger button on one side can be mapped for firing bullets accelerating forward. The crown on one side can be used to go through menus or toggle the volume. All the controls and buttons can be mapped as per the requirements and ergonomic comfort while playing.

The design is something to talk about as the metal finish in silver goes well with the Apple VR headset, and the ecosystem of Apple products. Do we need these controllers? Most definitely we do if Apple’s hardware has to be tested for peak gaming performance and of course enhance the overall experience of gaming in virtual reality.

The post How a touch controller for Apple Vision Pro will enhance gaming in the Metaverse first appeared on Yanko Design.