La lampe Kolo est un objet cylindrique réalisée par le designer polonais Pani Jurek et Piotr Musiałowski. Le réglage de l’intensité lumineuse se fait aux besoins et humeurs de son utilisateur et est obtenue à l’aide d’un jeu tactile. Le sable recouvre lentement le cercle de lumière et la luminosité s’estompe lentement.
Layers of sand that resemble a mountainous landscape will gradually move and change shape for the duration of this installation by Mexican architect Frida Escobedo for skincare brand Aesop‘s New York pop-up shop.
The installation at The Invisible Dog Art Center in Brooklyn was created by Escobedo to reflect its temporal setting and the idea of natural ornamentation espoused by Modernist architectural theorist Adolf Loos.
“Inspired by this principle, this installation for Aesop reflects the passing of time in the way of an inverse sedimentation,” explained Escobedo in a statement displayed alongside the work.
A simple wooden structure, which also references the minimal aesthetic favoured by Modernist architects, supports and frames the glass panels containing black and white sand. The sand has been poured into gaps between the glass sheets, creating striated patterns that look like the peaks and valleys of a mountain range.
The sand will gradually sift through and out the bottom of the glass panel, causing the patterns to evolve over the five month period of the pop-up shop’s residency.
“Installed in springtime in New York, it also recalls melting snow, Les Eaux de Mars, a change of season, optimism and expectation,” Escobedo explained.
Aesops’s products surround the space containing the artwork, which also features a freestanding vintage sink that echoes the raw, industrial backdrop of the gallery space.
Aesop is renowned for its unique shops created by leading architects and designers, including one in Kyoto with light fitting taken from squid fishing boats and another in New York with a ceiling covered in copies of The Paris Review.
Photography is by Rafael Gamo.
Here’s some more information from Aesop:
Aesop pop-up at The Invisible Dog
Aesop is honoured to partner with The Invisible Dog Art Center in Brooklyn to present a temporary installation designed by architect Frida Escobedo. Launched on March 13, the innovative retail space will operate until the end of July.
While its main business is skin, hair and body care, Aesop has long nurtured a passionate interest in all forms of creative expression, and is well known for collaborations with individual practitioners and organizations alike. The endeavor sees the brand join with a New York exemplar of community-focused cultural engagement and one of the foremost proponents of Latin American Modernism.
The installation’s centerpiece is a timber-framed glass enclosure containing meticulously segmented layers of sand that will shift over the next five months. Escobedo speaks of this feature having dual interpretations. In a materiality and form, it reference Modernism’s shift away from ornamentation. And in keeping with one of Escoebdo’s central concerns, it reflects temporality of its setting. The design is also influenced by Aesop’s distinctive aesthetic, which the architect sees as aligned with the Japanese principle of shibusa or ‘sophisticated austerity’.
Aesop selected the location because of its deep ties with the neighborhood and by the creative space and support network it provides for artists. The Invisible Dog manages to combine residency studios for artists, venues for exhibits and performances, and community engagement. Established in 2009 and nestled between Cobble Hill, Carroll Gardens and Boreum Hill, this interdisciplinary space is an exemplar of self-sustained, community-focused cultural engagement; and an acclaimed hub for experimentation and collaboration among artists.
Aesop was founded in Melbourne in 1987 and today offers its superlative formulations in signature stores and counters around the world and online. As the company evolves, meticulously considered design remains paramount to the creative of each space.
The post Patterns of sand shift over time in
Frida Escobedo’s installation for Aesop appeared first on Dezeen.
La photographe hollandaise Claire Droppert a fait la série « Gravity – Sand Creatures » dans laquelle elle capture des blocs de sable jetés et figés dans les airs pour en faire ressortir des formes animales. Une série qui fait appelle à notre imagination, à découvrir sur Fubiz dans la suit de l’article.
Chèvre.
Lièvre.
Essaim de guêpes.
Poisson.
Chenille.
Taureau.
Mouffette.
Au parc Storyland, situé aux Etats-Unis, a eu lieu une exposition de sculptures de sable très impressionnantes. Tous les classiques sont revisités : Harry Potter, Max et les Maximonstres, Jumanji et même Angry Birds. Les photos sont signées Michelle Blacky Champaz et l’ensemble est à découvrir ci-dessous.
« Poussière d’Etoiles » est une série réalisée par le photographe français Ludovic Florent. Il met à l’honneur des danseurs débordant de grâce en y ajoutant du sable. Les grains de sable accentuent l’effet de mouvement majestueux des chorégraphies. A découvrir en détails sur son portfolio et dans la suite de l’article.
A giant mound of sand appears to support an aluminium roof at New York studio Formlessfinder’s Tent Pile installation outside this year’s Design Miami fair, which opens to the public today (+ slideshow).
Formlessfinder was commissioned by Design Miami to create the temporary pavilion for the entrance to this year’s fair.
Although the gabled roof appears to be supported by the pyramid of sand at first glance, it is held up by timber columns and a plywood wall across its centre.
Five hundred tons of sand are piled up against the central wall, dividing the area beneath the roof into two.
The wall is kept upright by a number of diagonal metal braces, which prevent the weight of the sand from pushing it over and also transfer the cool temperature of the sand to the seating area on the other side of the retaining panel.
On this side, visitors can rest in the shade on milled aluminium benches and beneath fans before entering the exhibition.
The designers intend the pile of sand to be sat on and played in. “We’re hoping to create something that people would want to participate in,” said practice co-founder Garrett Ricciardi when the design was released in October.
The roof comprises a series of anodised aluminium trusses made by fabricator Neal Feay, which run lengthways and are connected by thin struts.
Dezeen is currently in Miami for the last leg of this year’s Dezeen and MINI World Tour and we’ll be posting video reports from the event soon.
Last year visitors entered the exhibition space under a canopy of inflatable sausages designed by Snarkitecture. This year’s fair continues until Sunday.
Photography of the pavilion under construction is by Michael Landsberg.
Here’s some more text from Design Miami:
NYC-based architectural practice Formlessfinder to design a pavilion for Design Miami’s 2013 commission
Each December, Design Miami/ commissions early-career architects to build a designed environment for the fair’s entrance as part of its biannual Design Commissions program.
Harnessing multiple, often unexpected, properties of sand and aluminium, Formlessfinder’s Tent Pile pavilion provides shade, seating, cool air and a space to play for the city’s public. The pavilion appears as a dramatic aluminium roof miraculously balanced on the apex of a great pyramid of loose sand. Milled aluminium benches give resting space in the shade, where visitors will be fanned by the cool air naturally generated by the structure.
Formlessfinder describes itself as a “formless” architectural practice – a studio where an expanded range of ideas, material considerations, construction techniques and user interactions all take priority over the shape of the final building. “Form is often the default lens for thinking about architecture. Even when people think they’re talking about something else, like function or structure, there’s often some kind of formal idea underlying the discussion. We’re trying to shift away from form so that we can explore other qualities of architecture, such as new ways of experiencing space or innovative ways of using materials,” explains Julian Rose, who co-founded the practice in 2010 with Garrett Ricciardi. The pair refer to their practice as a “finder” because it has a multifaceted output, which includes research projects and a forthcoming book. But while the theoretical aspect is important to its work, Formlessfinder still has the creation of physical structures at its heart.
Formlessfinder approaches new projects with an interest in the specifics of geography and the use of available and appropriate materials, committing to use them in a way that allows for re-use. In researching ideas for Tent Pile at Design Miami/ 2013, Rose and Ricciardi ultimately focused on two phenomena very particular to Miami. The first was the ubiquity of sand in the region; those golden grains visible on the beaches also lie beneath the foundations of every building in the city and beyond. Any kind of construction in Miami must take into account the loose and shifting layer on which the final structure will ultimately float. The second was the architectural vernacular of the city; a kind of tropical post-war modernism distinguished by hybrid indoor/outdoor spaces of which the cantilevered roof seemed particularly emblematic. To design the roof and subsequent seating, the architects enlisted the support of materials powerhouse Alcoa and third-generation aluminium fabricator Neal Feay, both of which were integral in giving life to the ambitious truss design of the roof, executed in anodised aluminium.

Formlessfinder’s pavilion takes the sand that is elsewhere so problematic and uses it to advantage. The sand which is so destabilising for architectural projects elsewhere in Miami here becomes the stabilising element of the structure, mooring the lightweight aluminium roof, in lieu of an excavated foundation, for the cantilever, while also being a zero-waste material, completely re-usable after its time at the pavilion.
A retaining wall appears to slice the pyramid of sand in half, creating a more ordered space immediately in front of the entrance to the fair. Bench seating in a variety of sizes is provided by large sheets of aluminium fixed to simple wood bases, foregrounding the raw nature of the materials used. Arranged in a 500-ton pyramid the sand has a thermal mass cooling effect – metal fins driven through the retaining wall into the sand will draw the cool temperature into the seating area, and simple fans will create a refreshing breeze rippling out from the wall.
The pavilion acts as a refuge for the more than 50,000 visitors who come to Miami for the fairs each year, as well as inhabitants of the city’s South Beach neighbourhood. It is intended as a public installation that marries the practical requirements of shelter and seating to spectacular creative architectural ideas from a young practice. Formlessfinder’s Tent Pile engages not only with materials and aesthetics specific to Miami, but with the location of the fair within the city – the pyramid of sand is there to be sat on and played in, the cooling fans to be approached, examined and enjoyed. “We’re hoping to create something that people would want to participate in,” says Ricciardi, and the result is a structure designed to be occupied and explored, as much as it is to be admired.
The post A pile of sand marks the
entrance to Design Miami appeared first on Dezeen.
News: the entrance pavilion for the Design Miami collectors’ fair in December will comprise a mound of sand with an aluminium roof perched on top.
Designed by New York studio Formlessfinder, the temporary pavilion is conceived as a space that will encourage interaction and play from some of the 50,000 visitors to the annual Design Miami fair, which takes place in Miami Beach.
“We’re hoping to create something that people would want to participate in,” said architect Garrett Ricciardi, who co-founded the studio with fellow architect Julian Rose. The pair expect visitors to lounge on the sand and adapt its shape.
They said the concept was developed in response to two of the city’s characteristics – its abundance of sand, beneath buildings as well as on the beaches, and the trend for cantilevered roofs.
“Formlessfinder’s pavilion takes the sand that is elsewhere so problematic and uses it to advantage,” said the fair organisers. “The sand, which is so destabilising for architectural projects elsewhere in Miami, here becomes the stabilising element of the structure.”
A retaining wall will dissect the pavilion, separating the sandy hill from a seating area furnished with milled aluminium benches.
The sand will also draw cool air into the space, allowing it offer a comfortable and shaded environment for guests.
Design Miami has commissioned a new entrance pavilion each year since 2008. Last year’s structure was a cluster of inflatable sausages, while in 2011 David Adjaye created a wooden structure with a hollow belly.
Other interesting projects using sand include a concept for cooling units and a series of affordable houses in Cape Town.
See more design featuring sand »
Here’s some more information from Design Miami:
New York-based architectural practice Formlessfinder to design a pavilion for Design Miami’s 2013 Design Commission
Each December, Design Miami/ commissions early-career architects to build a designed environment for the fair’s entrance as part of its biannual Design Commissions program.
Harnessing multiple, often unexpected, properties of sand and aluminium, Formlessfinder’s Tent Pile pavilion provides shade, seating, cool air and a space to play for the city’s public. The pavilion appears as a dramatic aluminium roof miraculously balanced on the apex of a great pyramid of loose sand. Milled aluminium benches give resting space in the shade, where visitors will be fanned by the cool air naturally generated by the structure.
Formlessfinder describes itself as a ‘formless’ architectural practice – a studio where an expanded range of ideas, material considerations, construction techniques and user interactions all take priority over the shape of the final building. “Form is often the default lens for thinking about architecture. Even when people think they’re talking about something else, like function or structure, there’s often some kind of formal idea underlying the discussion. We’re trying to shift away from form so that we can explore other qualities of architecture, such as new ways of experiencing space or innovative ways of using materials,” explains Julian Rose, who co-founded the practice in 2010 with Garrett Ricciardi. The pair refer to their practice as a “finder” because it has a multifaceted output, which includes research projects and a forthcoming book. But while the theoretical aspect is important to its work, Formlessfinder still has the creation of physical structures at its heart.
Formlessfinder approaches new projects with an interest in the specifics of geography and the use of available and appropriate materials, committing to use them in a way that allows for re-use. In researching ideas for Tent Pile at Design Miami/ 2013, Rose and Ricciardi ultimately focused on two phenomena very particular to Miami. The first was the ubiquity of sand in the region; those golden grains visible on the beaches also lie beneath the foundations of every building in the city and beyond. Any kind of construction in Miami must take into account the loose and shifting layer on which the final structure will ultimately float. The second was the architectural vernacular of the city; a kind of tropical post-war modernism distinguished by hybrid indoor/outdoor spaces of which the cantilevered roof seemed particularly emblematic. To design the roof and subsequent seating, the architects enlisted the support of materials powerhouse Alcoa and third-generation aluminium fabricator Neal Feay, both of which were integral in giving life to the ambitious truss design of the roof, executed in raw aluminium.
Formlessfinder’s pavilion takes the sand that is elsewhere so problematic and uses it to advantage. The sand which is so destabilising for architectural projects elsewhere in Miami here becomes the stabilising element of the structure, mooring the lightweight aluminium roof, in lieu of an excavated foundation, for the cantilever, while also being a zero-waste material, completely re-usable after its time at the pavilion.
A retaining wall appears to slice the pyramid of sand in half, creating a more ordered space immediately in front of the entrance to the fair. Bench seating in a variety of sizes is provided by large sheets of aluminium fixed to simple wood bases, foregrounding the raw nature of the materials used. Arranged in a 500-ton pyramid the sand has a thermal mass cooling effect – metal fins driven through the retaining wall into the sand will draw the cool temperature into the seating area, and simple fans will create a refreshing breeze rippling out from the wall.
The pavilion acts as a refuge for the more than 50,000 visitors who come to Miami for the fairs each year, as well as inhabitants of the city’s South Beach neighbourhood. It is intended as a public installation that marries the practical requirements of shelter and seating to spectacular creative architectural ideas from a young practice. Formlessfinder’s Tent Pile engages not only with materials and aesthetics specific to Miami, but with the location of the fair within the city – the pyramid of sand is there to be sat on and played in, the cooling fans to be approached, examined and enjoyed. “We’re hoping to create something that people would want to participate in,” says Ricciardi, and the result is a structure designed to be occupied and explored, as much as it is to be admired.
The post Design Miami pavilion to feature
a pile of sand appeared first on Dezeen.
Focus sur Evelina Pentcheva qui a imaginé ce superbe projet appelé « Streams of Sand » entièrement réalisé dans les dunes Oceano en Californie. A la tête de Photo Enigmatic, l’artiste nous offre de magnifiques clichés en noir et blanc dans lesquels apparaissent son ami Anibal Diaz. A découvrir dans la suite.
Non ho idea di dove si possa trovare. So solo che per un bimbo questo Play-Doh sabbioso, forse meno commestibile del suo cugino plasticoso può rappresentare la vera svolta.
Coup de cœur pour les travaux du photographe allemand Mattias Heiderich qui aime composer des clichés très épurés. En résulte cette récente série appelée « Kali ». Des clichés de roches et de sable à la limite du surréaliste, avec un rendu impressionnant, comme si le temps s’était arrêté. A découvrir dans la suite.
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.
