Hasta La Ideas

Après la série Nimbus en 2012, l’artiste hollandais Berndnaut Smilde revient avec sa série « Antipodes » dans laquelle il exploite de nouveau sa machine-à-créer des nuages. Les nuages sont faits grâce à une modification de l’humidité et de la température de la pièce et sont mis en valeur avec des lumières.

Berndnaut Smilde’s portfolio.
Exposé à la Galerie Ronchini du 11 Avril au 14 Juin 2014.

Milan 2014: Space Caviar’s algorithmic publishing project will be travelling to Venice for the architecture biennale, with the final issues from Milan design week now available to download – including contributions from Formafantasma and Martino Gamper (+ slideshow + download).

Joseph Grima‘s design research collaborative Space Caviar created a new realtime publishing algorithm, called Fear of Missing Out (FOMO), which combines text produced using voice recognition technology with text and images posted on social platforms like Instagram and Twitter.

The software debuted in Milan last week with a series of talks called On the Fly providing the core content for the resulting publications, which were printed instantly from a travelling publishing unit known as the FOMObile and based on an Open Structures modular system designed by Thomas Lommee.

Participants in the talks, which took place in Nike‘s Aero-static dome at Palazzo Clerici, included Martino Gamper, Clemens Weisshaar, Atelier Bow Wow, Bart Hess and Formafantasma. Members of the public from all over the world were also invited to take part by using the #OnTheFlyMilan hashtag on social media networks.

“The idea behind FOMO is to explore the potential of event metadata as source material for a performative publishing process, but the print component is important – the whole thing made a lot more sense when we bound it all together into a single volume at the end on the FOMO sewing machine,” said Grima.

The FOMObile will be in residence in Venice in early September and may also make an appearance during the opening weekend in early June.

“From a Dadaist perspective I think the Milan experiment went very well – almost everything about it was unexpected, such as how moments of intensity and moments of inactivity are revealed in the blanks and overlaps,” said Grima.

“What we’d like to do next is explore the other end of the spectrum, perhaps creating something that is indistinguishable from a conventional publication, for example working with the social media and physical interactions between people on a weekday in one of the piazzas of Genoa,” he said.

The project was inspired by a comment from futurist and writer Bruce Sterling, who said that “events were the new magazines”. Sterling was among the visitors to the project during Milan design week.

Download issues nine to 12 of FOMO from Milan:

» Formafantasma – download here
» Brent Dzekciorius – download here
» Anna Meroni – download here
» Martino Gamper and Arthur Huang – download here

Download issues four to eight of FOMO here.
Download issues one to three of FOMO here.

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prepares to visit Venice appeared first on Dezeen.

Gisele Taranto Arquitetura a construit la « Tempo House » en remettant à neuf une maison coloniale de Rio de Janeiro. L’architecte a conservé la dimension exotique de la nature profuse. Divisée en deux blocs, la maison possède un SPA, un patio, une piscine et un home cinema. Une belle maison à découvrir dans la suite.

Milan 2014: British designer Max Lamb developed a multicoloured engineered marble for Dzek, which was used to build furniture that appears to merge with walls of the same material for an installation in Milan.

Max Lamb was approached by London design brand Dzek to re-examine the production of man-made stone surfaces and came up with a material called Marmoreal that combines coloured marble with a polyester binder to create a durable stone for architectural applications.

“We invited Max to examine agglomerate stones such as terrazzo and question how he would design and use one consistent with his practice known for its quixotic craftsmanship, disciplined logic, and a measured exuberance deeply rooted in materiality,” said Dzek founder Brent Dzekciorius.

Rather than the small chips of stone embedded in typical terrazzo, Lamb chose to celebrate the natural surface detail of marble by including large chunks in the mix for his manmade material.

Marmoreal means “real marble” in Italian and is used to describe materials or objects that resemble marble. The four types of marble used in Lamb’s stone come from the quarries around Verona in northern Italy, which are famous for processing marble.

Green Verde Alpi, ochre-yellow Giallo Mori, and red Rosso Verona variants were selected to contrast with a background of white Bianco Verona marble.

Combining these stones with a small amount of polyester resin results in a multicoloured material that is stronger and less porous than natural marble.

“Composed of four historically significant Veronese marbles, Marmoreal is a material exploration that celebrates the individual qualities of these stones while acknowledging that the sum of its parts makes for something far more compelling,” explained Dzekciorius.

The material can be used to produce tiles or components for furniture, like the six pieces developed by Lamb to showcase the product’s capabilities.

These include a chair, bookcase, low coffee table, side table, shelf and a dining table or desk, all produced from simple geometric blocks of the engineered marble.

At its installation during last week’s Salone Internazionale del Mobile, Dzek presented the furniture in a space lined with tiles of Marmoreal that made it hard to distinguish the furniture from the walls.

Dzek focuses on collaborating with architects, designers and artists to develop architectural materials that can be used as the basis for product collections. The Marmoreal project is the first to be completed by the company.

Photography is by Delfino Sisto Legnani.

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camouflaged furniture installation appeared first on Dezeen.

Le designer graphique italien Lino Russo a fait une série intitulée « Skymetric », minimaliste, colorée et très graphique. Le mot-valise « Sky-metric » introduit la dimension géométrique de la série, avec le ciel bleu, toujours présent dans les compositions des images : mélange de la nature avec l’architecture.