La firme basée à Shanghaï Studio Twist a transformé un bâtiment servant à l’origine de bunker en galerie, connu sous le nom de Connoisseur Gallery. Avec des choix de décoration originaux, ce lieu proposant une collection de pièces et objets exotiques propose une ambiance unique, mélangeant l’étrange au luxueux.
Alchemist Lauren Bowker has embedded ink that changes colour depending on different climatic conditions into a feathered garment (+ movie).
Bowker designs clothing and sculptures to demonstrate how the inks she has developed blend from one colour to another depending on the surrounding environment.
Her extravagant PHNX fashion pieces were made from feathers impregnated with the ink, which respond to light, heat and friction so they ripple with changing tones as the wearer moves.
“I chose the feathers because the piece was about the birth of something new and the piece goes through dark phases to light, which is meant to be spiritual,” Bowker told Dezeen at the Wearable Futures conference where she presented the project earlier this week.
She also collaborated with photographer Ryan Hopkinson to create Valediction, a sculpture made from white leaves covered in thermochromatic ink so they would turn blue when they became hot. When the piece was ignited, the colours mapped the destruction before it occurred.
Bowker began her research by creating a pollution-absorbent ink called PdCl2, which changes colour from yellow to black in dirty conditions then reverts back in fresh air.
At the Royal College of Art she developed the product into ink that can respond to a variety of different environmental conditions.
“I graduated with an ink which is respondent to seven different parameters in the environment,” Bowker said. “Not only will it absorb air pollution, it will change colour to UV, heat, air friction, moisture and more. This gives it the capability to go through the full RGB scale.”
“Each ink works very differently, it depends on what sort of material you want to apply it to,” she added.
The inks can be applied to most materials using various methods, depending on the characteristics of the surface. “You can screen-print it, paint it, spray it, or alternatively you can dye things with it, impregnating the fibres with the colour,” Bowker explained.
After presenting the technology in fashion pieces, it was picked up by a range of companies who asked her to collaborate on projects including a concept aeroplane cabin by Airbus. “Everyone saw this technology and saw their own vision of how they could use it,” said Bowker.
She can customise the inks to change colour in specific places by mapping the conditions at the locations and creating an ink to respond to these parameters.
“If you came to me and said ‘Lauren, I want my silk jersey to change colour when I’m at Oxford Street, then when I’m at Baker Street I want to be a different colour’, I would go out and map the fluctuations in the environment of each tube station then I would create you an ink that responds to those environments,” Bowker said.
Bowker recently set up The Unseen, a design house for biological and chemical technology house to raise awareness of the product and further the applications of her creation by making it more affordable. The company aims to launch a collection using the materials at London Fashion Week in February 2014.
In the future, Bowker hopes the inks will be adopted by the medical industry: “If it goes into a T-shirt that lets you know if you’re going to have an asthma attack, that for me is much more successful than having an amazing fashion collection.”
Bowker presented her work at the Wearable Futures conference at Ravensbourne in London, which concluded yesterday.
Here is some more information from the designer:
Multi-award winning alchemist Lauren Bowker leads prophetic art house The Unseen. Focused on Seeing The Unseen; The Unseen is a luxury design house and consultancy that integrates biological, chemical and electronic technology into fashion, through materials.
Philosophy
“The Unseen believes technology IS magic. My vision is to create a world of seamlessly captivating science; through exquisite couture, luxury products and opulent materials; in lieu of the believer searching for special pieces and unique experiences. To do this I will build a House and environment that both appeal intriguingly and aesthetically. That is well informed, well educated, inventive and sensitive to both Technology and Design. Offering luxury attire enhanced with technical magic that will lead fashion. I trust in the unseen world around us, it can offer beauty, magic and faith. I want others to see what I see.”
Valediction
A collaboration with genius Ryan Hopkinson.
Valediction depicts the burning of a sculpture made entirely from the skeletons of leaves, hand painted in Thermochromic, Heat tracking Pigments to appear blue. The sculpture, once ignited, acts as a mapping tool of its own destruction. The Thermochromatic treatment allows the viewer to witness patterns of heat flux in real time as the leaves combust and the flames propagate. With a starting height of eight feet the sculpture is reduced to nothing within ten seconds leaving only ash and a limited number of high resolution photographs as physical proof of it’s existence. On first glance aesthetic beauty conceals the technology, while the true nature of the sculpture is exposed through destruction by flame. Data is made available and witnessed in real-time, illustrating a new platform for physical visualisation.
PHNX
Through the expansion of many types of ink PHNX is an original take on dynamic chromic imaging. Using existing and vast variables from the immediate human habitat as an external input to the PHNX sensory ink, forming an array of new Chromic materials within natural structures. Resulting in a constructed and dynamically controlled textile that is capable of constantly evolving, continually changing colour state in front of the viewer’s eyes. Inspired by reincarnation and the cycle of life PHNX was intended to enhance the beauty of Technology in materials and the imagination of experimentation within Fashion providing an aesthetic that provokes discourse on beauty of materials in fashion, technology, interaction and data.
PdCl2
The multi award winning PdCl2 ink is designed to treat the symptoms of hazardous lifestyles we live in today. The Chromic Dye is capable of reacting in the presence of carbon emission. Presenting a reversible colour change from yellow to black. The surrounding concept addresses issues in health as a result of passive smoking, logically evolving into a platform that aesthetically visualises environmental conditions. Using Material to offer an innovative language within visual communication.
The post Clothes that change colour according
to climate by Lauren Bowker appeared first on Dezeen.
Researchers at Italian design centre Fabrica have created accessories that would deceive neuroimaging devices by diverting thoughts using electric shocks and flashing lights (+ slideshow).
Lisa Kori Chung and Caitlin Morris from Fabrica designed the anti-NIS (neuroimaging surveillance) pieces to detect when surveillance technology linked to CCTV cameras is trying to read the wearer’s brainwaves. It would then focus their thoughts to something inconsequential to help maintain privacy.
They say neuroimaging technology is currently being researched and developed to read and record the thoughts of the public, with the aim to detect ill intentions before they are carried out.
However this raises issues of privacy, so Kori Chung and Morris are proposing to mask thoughts using a range of wearable devices.
Each faceted piece covered with decorative patterns is designed to detect when the wearer is being scanned and provides a distraction to change their thought pattern.
“Rather than simply blocking access to the brain, which would require unsubtle and complex equipment, each piece proposes a method of momentary cognitive diversion,” said the designers.
“When a scan is detected, the accessories provoke a sensory reaction that will demand the wearer’s attention, changing their current brain activity patterns and affording a moment of privacy through camouflage.”
The hat transmits sound pulses through the skull to the ear, the collar gives a gentle electric shock and the mask emits light flashes into the wearer’s eyes.
This means that at the moment of the scan, the wearer’s thoughts are more likely to be read as “this light is too bright” or “that’s a strange sound” rather than what their mind might have been preoccupied with otherwise.
Even though the implementation of neuroimaging technology is still science fiction, the project aims to raise awareness of other surveillance techniques currently used in conjunction with CCTV such as facial recognition, motion detection and voice analysis.
The project was designed for the Futures 10 exhibition of wearable technology, displayed last night as part of the Wearable Futures conference at Ravensbourne in London.
On the same theme of masking surveillance, Adam Harvery created a range of anti-drone clothing to hide the wearer from heat detection technologies.
Photographs are by Marco Zanin.
Here’s some information the designers sent to us:
Wearables to thwart neuroimaging surveillance by Lisa Kori Chung and Caitlin Morris
The paradigm of clothing as protector and concealer is slowly shifting: increasingly, our bodies are becoming more and more public (though security practices as well as fashion choices), while new forms of neuro-imaging technology are developing that may one day allow for surveillance and interception of the contents of our minds. Anti-NIS Accessories is a series of proposed objects designed as a form of clothing that maintains privacy of thought and action.
Rather than simply blocking access to the brain, which would require unsubtle and complex equipment, each piece proposes a method of momentary cognitive diversion. When a scan is detected, the accessories provoke a sensory reaction that will demand the wearer’s attention, changing their current brain activity patterns and affording a moment of privacy through camouflage. The objects include a hat that transmits sound pulses through bone conduction, a collar that gives a gentle electric shock and a mask that distracts the user with flashing lights.
Can the purpose of clothing be expanded to serve a hybrid purpose: acting as an expressive covering of the body, and also maintaining privacy of things like emotions, intelligence, and even more specific “brain data”?
These are the wider questions we asked:
Today, closed-circuit video surveillance has become commonplace. Concurrent with its rise in ubiquity, new techniques are being developed for analysing the massive amounts of information generated. Biometric identification techniques such as FRT (facial recognition technology), gait analysis, and voice analysis are often used after an incident has taken place to try to determine the identities of the parties involved. However, now various companies are working on algorithms to detect persons acting “suspiciously” (perhaps based on activities such as running, loitering and carrying packages). We are entering a new period of algorithmic guessing of intention based on external behaviours, before an incident takes place.
What if brain-scanning could be periodically deployed in a widespread and stealthy manner in urban environments, similar to CCTV now? Already our notions of civil liberties and bodily privacy are being challenged on an everyday basis, how should they be defined in the future in terms of the mind?
The post Headgear to thwart mind-reading surveillance
cameras by Fabrica researchers appeared first on Dezeen.
American studio Emerging Objects 3D-printed this pavilion using salt harvested from San Francisco Bay (+ slideshow).
“The structure is an experiment in 3D printing using locally harvested salt from the San Francisco Bay to produce a large-scale, lightweight, additive manufactured structures,” said Ronald Rael and Virginia San Fratello of additive manufacturing startup Emerging Objects.
They explained that 500,000 tonnes of sea salt are harvested each year in the San Francisco Bay Area using power from the sun and wind. “The salt is harvested from 109-year-old salt crystallisation ponds in Redwood City,” they said. “These ponds are the final stop in a five-year salt-making process that involves moving bay water through a series of evaporation ponds. In these ponds the highly saline water completes evaporation, leaving 8-12 inches of solid crystallised salt that is then harvested for industrial use.”
In addition to being a renewable resource, the salt is inexpensive compared to commercially available printing materials and creates strong lightweight components.
They claim that their pavilion is the first to be printed from salt but draws on traditional techniques for building with the material. “No one has ever 3D-printed a building out of salt,” Rael told Dezeen. “However, there is a long tradition of architecture constructed of salt blocks, particularly in the Middle East and in desert environments.”
The 336 unique translucent panels of the Saltygloo structure were made in a powder-based 3D printing process where a layer of salt is applied then fixed in place selectively with a binding agent, before the next layer of salt is deposited and the process is repeated.
The panels were then connected together to form a rigid shell, further supported with lightweight aluminium rods flexed in tension.
“Each panel recalls the crystalline form of salt and is randomly rotated and aggregated to create a larger structure where all tiles in the structure are unique,” explained the designers.
“The form of the Saltygloo is drawn from the forms found in the Inuit igloos, but also the shapes and forms of tools and equipment found in the ancient process of boiling brine,” they added. “The translucent qualities of the material, a product of the fabrication process and the natural properties of salt, allow for natural light to permeate the space, highlight the assembly and structure, and reveal the unique qualities of one of humankind’s most essential minerals.”
Rael and San Fratello are professors of architecture and design at the University of California Berkeley and San Jose State University. They founded Emerging Objects six months to focus on printing architecture from a diverse set of materials, largely renewable or sources from industrial waste, including some they have developed themselves.
Besides salt, they are also working in 3D-printed wood, cement and paper, adapting old models of 3D-printers to suit their materials and processes. “Emerging Objects is interested in the creation of 3D printed architecture, building components and furnishings that can be seen as sustainable, inexpensive, stronger, smarter, recyclable, customisable and perhaps even reparable to the environment,” they explain.
The Saltygloo pavilion follows a piece of furniture printed in the same way and the firm is now gearing up to produce a large-scale architectural room. “We see possibilities to create building enclosures and building cladding systems, as well as free standing walls using the salt material,” Rael told us.
The project is on display at the Museum of Craft Design as part of an exhibition called New West Coast Design 2 until 5 January 2014.
Design team: Ronald Rael, Virginia San Fratello, Seong Koo Lee.
Fabrication team: Ronald Rael, Seong Koo Lee, Eleftheria Stavridi
Material development: Ronald Rael, Mark Kelly, Kent Wilson
Special thanks: Professor Mark Ganter, Solheim Lab, University of Washington, Ehren Tool, Department of Art Practice, University of California Berkeley, Department of Architecture, University of California Berkeley, Department of Design, San Jose State University, Kwang Min Ryu and Chaewoo Rhee.
The post Pavilion made of 3D-printed salt
by Emerging Objects appeared first on Dezeen.
Le studio MacKay-Lyons Sweetapple Architects a imaginé ce projet Cliff House, situé sur la côte atlantique de la Nouvelle-Ecosse. Pensé comme un prototype reproductible, cette jolie structure située face une vue incroyable propose un loft du plus bel effet. A découvrir en images dans la suite de l’article.
Among the dust in the Black Rock Desert of Nevada, we spent six days braving the mayhem of the 2013 Burning Man Festival. There were plenty of interesting and strange characters roaming the playa, but…
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Whether it’s hauling home groceries in the trunk of a classic car, kids in the cargo carrier of a Christiana bike, or tackling laundry in an urban environment, schlepping is a natural part of a busy life. Make it easier on your favorite workhorse with one of the gifts from…
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Flaps in this range of clothing by Dutch fashion designer Pauline van Dongen open up to reveal solar panels, enabling the wearer to become a walking mobile phone charger (+ movie).
Pauline van Dongen collaborated with Christiaan Holland from the HAN University of Applied Sciences and solar energy expert Gert Jan Jongerden on the Wearable Solar project, which aims to integrate photovoltaic technology into comfortable and fashionable clothing.
“Wearable Solar is about integrating solar cells into fashion, so by augmenting a garment with solar cells the body can be an extra source of energy,” Van Dongen told Dezeen at the Wearable Futures conference in London. “It’s really about the true integration of technology and fashion, which can transcend the realm of gadgets.”
The dress features 72 flexible cells attached to panels on the front of the garment that can be folded outwards to capture sunlight. Forty-eight rigid crystal solar panels are incorporated into leather flaps on the jacket’s shoulders and waist so they can be revealed when the sun shines and hidden when not in use.
A standard charging plug connects the solar panels directly to a mobile device, and Van Dongen claimed that a garment exposed to direct sunlight for one hour could capture enough energy to charge a typical smartphone to 50 percent capacity.
Van Dongen said the comfort and weight of these garments could be improved by experimenting with flexible photovoltaic cells, adding that other hardware such as batteries also needs to be refined before wearable technology will become part of everyday life.
“Wearability is very important to my work because I am a fashion designer,” explained Van Dongen. “We’re dealing here with the human body and it’s not just a static body, it’s dealing with movement and expressions, a sensory surface so it’s very important to stress the wearability.”
“We’re not very far away from people actually wearing these garments that I design,” said Van Dongen, adding that the project team are also currently seeking investment to translate it into a commercially viable enterprise.
“I think it’s important to see which technologies are really ready to be implemented, how people would deal with them, how people would feel in those clothes, what it could mean to them. And of course looking at the cost of these technologies. If you’re integrating 80 solar cells then of course you’re adding to the cost and you have to look at how much people are willing to pay for it.”
The project is being presented at Wearable Futures, an event showcasing innovations in wearable technologies which is taking place in London from 10-11 December.
Here is some more information from the designer:
Wearable Solar
Solar cells have been constructed to capture solar light and convert it into electricity. Their internal structure is layered and resembles the stratified cells of the human body, which naturally interacts with sunlight. If a body is augmented with solar cells it will embody enough electrical power to become a real source of energy. For the Wearable Solar project, a coat and a dress have been designed placing solar cells close to the body.
The two wool and leather prototypes comprise parts with solar cells which can be revealed when the sun shines or folded away and worn invisibly when they aren’t directly needed. The coat incorporates 48 rigid solar cells while the dress 72 flexible solar cells. Each of them, if worn in the full sun for an hour, can store enough energy to allow a typical smartphone to be 50% charged. The Sun is the biggest source of energy on earth and now that fossil fuels are depleting, it’s time we come up with a sustainable alternative.
The multi-disciplinary team behind Wearable Solar is composed by: Pauline van Dongen, Christiaan Holland (Project leader Gelderland Valoriseert from the HAN) and Gert Jan Jongerden (Solar-energy expert).
The post Fashion collection features solar panels
for charging a mobile phone appeared first on Dezeen.
Innovations in bike design happen so often and with such technical precision, it’s often difficult to keep up with changes. However mountain bikes are undergoing a major design shift that is both easily recognizable and also has major riding benefits. Traditionally, mountain bike…
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Dezeen Watch Store: Eclipse, the latest timepiece from Ziiiro, has a luminous ring in place of hour markers and is now in stock in three colour variations.
As with previous watches from the brand, Eclipse dispenses with conventional time-telling techniques. In place of the typical hands, the watch has two markers that seem to float above a ring on the dial.
One marker is slightly larger than the other, allowing them to pass over each other and for the wearer to differentiate between hours and minutes.
The luminescent ring on the dial is filled with a patented Swiss pigment called Super-LumiNova that can be powered by sunlight or artificial light and glows in the dark. This means that Eclipse can easily be read at any time of the day or night.
The 38-millimetre stainless steel case is topped with a hardened mineral crystal lens and the watch is powered by Japanese Miyota movement.
A comfortable rubber strap with a metal buckle completes the timepiece.
Hong Kong-based Ziiiro launched in 2010. The brand adheres to futuristic and minimalist principles inspired by the philosophy “zero buttons, zero loose parts, zero numbers.”
Eclipse is available in three colour variations: grey, snow and black.
Buy Eclipse for £129 with free shipping »
Visit Dezeen Watch Store to shop the full Ziiiro collection »
You can buy all our watches online; check the Christmas shipping dates before you purchase. And don’t forget you can visit our watch store pop-up in our north London showroom, which will be open for the next two weekends in December.
Dezeen Watch Store Christmas pop-up
Place: The Surgery, 100a Stoke Newington Church Street, Stoke Newington, London, N16 0AP
See map
Date: 14-15 and 21-22 December
Opening hours: 10am-6pm (Saturday), 11am-5pm (Sunday)
The post Ziiiro launches Eclipse watch with
floating markers and luminous dial appeared first on Dezeen.
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