Product news: Australian designer Marc Newson has surrounded this bed for French brand Domeau & Pérès with chunky bumpers.
Marc Newson enclosed the Bumper Bed within padded leather cushions to evoke the sense of sleeping on a mattress laid directly on the ground.
“Most people I know have at some point in their lives slept on a mattress on the floor,” said Newson. “So I thought it would be nice to design a bed that would [encourage] people like me to replace their faithful mattress with a ‘beautiful bed’.”
One lip sits flush with the mattress and a second wraps around the bed at floor level, with an orange leather strip running between the two.
The sides are deep enough to be used as seats and can be ordered from Domeau & Pérès in white, dove (pictured) or chocolate colours.
Product news: this glass table by Japanese designer Shigeichiro Takeuchi balances on legs formed from a single steel pipe.
Shigeichiro Takeuchi‘s Tricom table is part of the 2013 collection for furniture and product brand COMMOC.
The coffee table comprises a clear circular glass top and a single powder-coated steel pipe, which is bent where it meets the glass top or the floor to create three props from a continuous element.
The table is named after TRI for its three supports and COM for the first three letters of its manufacturer. The base is available in black, green or white.
Product news: London designer Samuel Wilkinson has launched a blown-glass lamp with a digitally created lozenge pattern for Danish brand &tradition (+ movie).
Combining traditional craft with digital technology, the BLOWN pendant lamp is Samuel Wilkinson‘s first lighting collaboration with &tradition.
Wilkinson used 3D computer software to model the structure of the metal mould used to imprint the diamond shapes onto the glass.
“The texture of the glass is rendered carefully in 3D CAD in order to control the inflation of each bubble precisely, achieving fine control of how the form would reflect the light at different angles,” said Wilkinson.
The mould incorporates zig-zag teeth that fit into each other exactly and follow the diamond pattern, so the mould line is hidden within the indentations to leave a seamless finish.
Molten glass is inflated and shaped using traditional glass-blowing techniques and then inserted into the mould while still hot.
The mould imprints the pattern onto the glass, then once it cools the shade is sanded and cleaned.
The lampshade encloses the light source and refracts the lozenge pattern onto surrounding surfaces.
BLOWN comes in two versions: translucent with a silver lustre and sandblasted matte white. Both are completed by a powder-coated aluminium suspension fitting and a fabric chord.
Blown is a mouth-blown glass pendant light with a variegated lozenged pattern imprinted on the surface which encloses the light source. It comes in two versions: translucent with a silver lustre and sandblasted matte white . Both versions are finished off with a powder-coated die-cast aluminium suspension and a fabric chord.
Wilkinson came to prominence for his involvement with the design of the avant-garde energy efficient light bulb Plumen 001, but this is his first light for &tradition. “It’s nice to be working with Samuel Wilkinson on a pendant light that marries traditional form with material innovation in this way,” says Brand Manager Martin Kornbek Hansen. Wilkinson has previously designed the Hoof tables for &tradition.
Like the Hoof tables, Blown is experimenting with a manufacturing process which combines industrial manufacture with a hand-crafted finish. While the making of Blown relies on technical 3dCAD (computer-aided design), the end product is mouth-blown by highly skilled craftsmen, connecting traditional craft with innovative technology.
Blown makes a statement as a standalone item, but works equally as well in clusters or in succession. The two versions cater to a range of interiors, with the sandblasted variant providing a subtle, sophisticated glow, while the translucent version transforms the space it inhabits with the intricate textures and patterning.
The shapes of the series LEM are the first results of the analysis and interpretation of quasicrystals and aperiodic patterns. In chemistry, quasicrystals stand with their aperiodic but still ordered structure for a contradiction to the actually required periodic symmetry of molecules within a crystal.
During the development process, crystalline structures have been constructed and implemented in three-dimensional shapes of fine wire mesh. These shapes are covered with layers of different textiles and foils, thereby creating a play of light which varies in addition depending on the used bulb.
The main intention in the still ongoing design process of LEM is the search for shapes with a very high visual complexity on one hand and a construction which is reduced to the essentially necessary parts on the other.
Each year the London Design Festival showcases an impressive range of design concepts coming out of Britain and beyond. Teeming with one-offs and prototypes aimed mostly at prosumers and journalists, the week-long, city-wide exhibition also includes a surprising amount of furniture, homewares, prints, accessories and more that are launched…
Wonmin Park‘s latest Haze Series in white, grey and navy is made up of eight pieces that include tables, shelves and benches.
The process is the same as in the earlier pastel-coloured series, where the resin is cast in separate moulds before being joined with coloured pigments.
However, this range comprises a different pallet with more neutral colours. Grey, white and navy elements vary subtly in tone, opaqueness and texture.
“I’m trying to use less colour and play more with propositions and form in a very simple way, which can give some feeling and emotion but is still usable as furniture,” Park told Dezeen.
by Ikechukwu Onyewuenyi When MINI Australia tapped Berlin-based Sigurd Larsen to exhibit furniture as part of their temporary concept space, little did they know the Danish-born architect would translate…
Dezeen and MINI World Tour: in our first video report from Singapore, Colin Seah of local architecture studio Ministry of Design tells us how the recent cultural shift away from mass-market shops and restaurants is helping transform attitudes towards design in the city.
“Singapore was known as a clean and green city,” says Seah. “Clean almost to the point of being boring.”
“There seemed to be a saturation of mass-market experiences. But from 2000 to 2005, things started to rapidly open up. Singapore now is a lot more exciting.”
Our MINI Paceman across the water from Gardens by the Bay by Wilkinson Eyre
Seah claims that many Singaporeans are choosing to stay away from established chains, preferring to spend their money in more boutique shops and restaurants.
Dempsey Hill, Singapore
In the movie he takes us to two recently rejuvenated parts of the city where independent retailers and food outlets are flourishing.
The first is Dempsey Hill, a former British colonial army barracks to the west of the city centre, which now hosts a wide range of independent restaurants and cafes.
Dempsey Hill, Singapore
“It was the first major adaptive reuse project in Singapore, where a building that was once governmental or institutional was given back to the market,” says Seah. “That shift has taken root and you see more districts now being reclaimed this way.”
Haji Lane, Singapore
Closer to the city centre is Haji Lane, a narrow street lined with two-storey shophouses in the Arab quarter of the city, in sharp contrast to the towering skyscrapers of the nearby financial district that Singapore is more famous for.
“Along Haji Lane you’ll find maybe 30 independent boutiques,” says Seah. “Just a great amount of variety without having to see a brand that you would find also in California or the UK.”
New Majestic Hotel by Ministry of Design
One of the first boutique hotels in Singapore was designed by Seah’s studio, Ministry of Design. Called New Majestic Hotel, it comprises four converted shophouse tucked away down a quiet street in Singapore’s Chinatown.
New Majestic Hotel by Ministry of Design
Seah believes that the recent demand for hotels like New Majestic Hotel provides an important source of work for designers in the city.
“Without this increased level of curiosity and diversity, firms like ours would not really be able to exist,” he says. “There would just be no market for the work that we do.”
New Majestic Hotel by Ministry of Design
He also believes that the cultural shift is encouraging more young people to study architecture and design.
“Because of the need for more firms to provide work of this nature, I think young people feel that it’s less of a risk to enter the design field,” he says.
New Majestic Hotel by Ministry of Design
“In Singapore, most of our parents want us to be accountants or lawyers or doctors. [To be an] architect is a bit dodgy and [if you study] interior design or art, you’re a lost cause. But not any more.”
Singapore’s government is also starting to take design seriously, Seah says. In 2008 it established SOTA (School of the Arts), which offers an arts and design-based curriculum for 13 to 18 year olds.
“Schools like SOTA are not just great physical examples of architecture,” Seah concludes. “They are also symbols of where Singapore is headed in terms of culture, in terms of design.”
Vitamins Design a mis au point ce « Lego Calendar » proposant ainsi de gérer un projet sur un planning créé grâce aux briques de différentes couleurs de Lego. Afin de prolonger l’expérience, une simple photo du calendrier permet de synchroniser celui-ci avec sa version virtuelle Google Calendar.
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