Tengbom Architects a imaginé cette structure pratique proposant tous les éléments nécessaires à la vie d’un étudiant tout en optimisant l’espace. Cette « Smart Student Unit » est exposée jusqu’au 8 décembre au Virserum Art Museum, avant d’en construire 22 exemplaires qui pourront être loués par des étudiants en 2014.
Unveiled at the New York Auto Show and just now hitting the streets, the 2014 Range Rover Sport completes a chapter of the Range Rover family’s evolution. We saw a new design language introduced with the…
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Ho capito che l’ostello è il posto in cui anche se sei della stessa nazionalità ti rivolgi al tuo interlocutore con un timido inglese. L’ostello è pratico, veloce e a buon prezzo. Specie se vogliamo fare un week end in una città come Venezia dove, – citando una mia amica – paghi anche l’aria che respiri. La soluzione si chiama Generator Hostel. La catena di ostelli europea ha recuperato il vecchio ostello veneto della Giudecca rigenerandolo in una struttura moderna e funzionale. Tutto l’arredamento è stato curato da Anwar Mekhayech dei canadesi di The Design Agency recuperando pezzi di vecchi mobili tra mercatini e fiere del nostro paese. L’ambiente è internazionale e super-friendly, puoi fare una sosta in zona lounge, leggerti un articolo di Monocle, conversare con la tedesca di turno e navigare con wi-fi ovviamente free. La colazione è ottima e il bar dispensa tutto quello di cui hai bisogno. Per l’occasione, la mia parola d’ordine all-inclusive era Purple ma per questo plus devi essere un menoso blogger di successo!
Generator Hostel Venice
Fondamenta Zitelle 86
Isola Giudecca
30133 Venezia
Italy
L’architecte Jeffery Poss et le Workus Studio s’associent pour créer la Lake House, un studio de deux étages destiné à être un atelier de sculpture et une maison pour les invités. L’espace est incroyablement bien utilisé et le résultat tranche avec l’environnement naturel tout en gardant une superbe vue sur le lac.
Architecture firm dRMM has combined fifteen staircases to create an Escher-style installation outside Tate Modern, ahead of the London Design Festival beginning tomorrow (+ slideshow).
“Stairs are always the most interesting things about architecture, they’re places where people meet,” dRMM co-founder Alex de Rijke told Dezeen at this morning’s opening presentation.
The interlocking wooden staircases are configured to create a maze of walkways and a viewpoints towards the city’s skyline across the Thames.
“It’s up to you what you want to look at, it gets you up high so you can see out over the river to St Paul’s,” de Rijke told us.
Visitors can climb up, down, over and under the structure, with some stairs leading from one to another and others to dead ends.
Steps and balustrades are made from cross-laminated timber panels of tulipwood taken from offcuts usually used for skirting boards.
The vertical panels used to form hand rails overlap to look like treads turned on their side, adding to the optical illusion.
Initially proposed to sit next to St Paul’s Cathedral, the installation was relocated to the lawn in front of Tate Modern – an art gallery housed in a former power station on the south bank of the river.
“St Paul’s was an interesting site but it was very constricted, the project was difficult to realise there whereas this space is much more open,” de Rijke. “This seemed like the best possible place to put it.”
The Endless Stair was created in collaboration with the American Hardwood Export Council and engineering firm Arup.
Taking place from 14 to 22 September, the London Design Festival will also feature a giant chandelier installed at the V&A museum. See our map of all the best exhibitions, talks and parties here.
Photos are copyright Dezeen.
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by dRMM appeared first on Dezeen.
Canadian lighting brand Bocci has installed a giant chandelier of colourful glass spheres in the main hall of the V&A museum for the London Design Festival, which kicks off on Saturday (+ slideshow).
Bocci has suspended 280 of its 28 series of hand-blown glass lights on spindly copper wires to create a chandelier designed by Omer Arbel.
“To finally build a piece in a very tall space, and at the V&A no less, really excites us,” said Arbel. “We’ve envisioned the most ambitious iteration of our 28 to date.”
The chandelier descends 30 metres from the ceiling of the first floor gallery and through a hole in the floor to emerge into the museum’s main atrium.
Glass lights are scattered down the column of copper wires that falls straight at the top of the piece, then splays outward haphazardly in the foyer.
During last year’s London Design Festival, the V&A museum hosted one installation that visualised data streams from all over the city and another where drops of coloured ink fell from the top of a stone staircase into a glass tank six storeys below.
Bocci’s 28 lights have also been used to create chandeliers for Spazio Rosanna Orlandi in Milan and a small cafe in Vancouver.
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More information from Bocci below:
Bocci 28.280
A surreal light installation by Bocci created as part of the London Design Festival exhibits at the Victoria & Albert Museum.
During this year’s London Design Festival eleventh edition, the Canadian design brand Bocci will present a lighting installation at the festival’s hub venue, the Victoria & Albert Museum.
Entitled 28.280 and designed by Omer Arbel, the installation is a massive vertically punctuated light installation located at the main atrium of the Victoria and Albert Museum in London. The installation, featuring Bocci’s celebrated 28, will descend through the large existing void cutting through the entire length of the V&A building, with an astonishing height of more than 30 meters. The intent of the installation is twofold; On the one hand, it is a pure celebration of the monumental open height of the building, which uses light to crystallise a powerful phenomenological experience for the viewer. On the other hand, it is the most ambitious exploration to date of a novel glass blowing technique.
28 is an exploration of a fabrication process – part of Arbel’s and Bocci’s quest for specificity. Instead of designing form itself, here the intent was to design a system that haphazardly yields form, almost as a byproduct. 28 pendants result from a complex glass blowing technique whereby air pressure is introduced into and then removed from a glass matrix which is intermittently heated and then rapidly cooled. The result is a distorted spherical shape with a composed collection of inner shapes, one of which is made of opaque milk glass and houses a light source.
280 of these discreet 28 units will be hung within a 30 metre vertical drop, suspended by a novel, perhaps awkward and heavy copper suspension system, that promises to have as much presence or more than the glass it supports. The installation continues Omer’s personal research into the process of making, and documents Arbel’s remarkable journey as an articulator of form.
“We have always dreamed of mounting a light installation in a very very tall space… In the world of ideas, a tall space is the most appropriate environment for our pieces (abstractly speaking, I could say the ONLY environment for our pieces). Hence, to have the opportunity to finally build a piece in a very tall space, and at the V&A no less, really excites us on both a personal and professional level. We’ve envisioned the most ambitious iteration of our 28 to date.” – Omer Arbel
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at the V&A appeared first on Dezeen.
The continuous blossoming of Asian designers is both evident and spectacular, especially concerning their contributions to innovation. It’s no surprise that Singapore will host the inaugural Maison & Objet Asia in March 2014, as this year’s Parisian exhibition already offered up a taste…
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by Dora Haller With special focus on kitchen utilities, this autumn’s Maison & Objet—the Parisian design trade show which ran from 6-10 September—offered simple innovations alongside more decadent wares. CH enthusiastically trawled through the vast array…
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Movie: in our final video interview with Hella Jongerius, the Dutch designer explains why she prefers to work with a small group of clients and says that building a long-term relationship with a company is a more sustainable way of working than designing collections for different brands each year.
“I don’t believe in working for everybody,” Jongerius says. “It’s a waste of energy. You have to pump something up for marketing because [companies] all need a story, so you pump up something that’s not relevant.”
Jongerius has longstanding relationships with American textile manufacturer Maraham, Swiss furniture brand Vitra and Dutch airline KLM. She says it is important for designers to be selective with who they work with.
“You better choose a company that can give you an identity and that you don’t have to [create] marketing stories for,” she says.
“I also believe that as you work longer [with a company] you can really trust each other and you can really build on a collection that’s not only about money but is also about invention.”
Jongerius says that a long-term relationship with a designer is also beneficial to manufacturers, allowing them to invest more prudently in new manufacturing processes. “At a certain moment you buy a new machine because you both believe in a certain range for this company,” she says.
“It’s another way of working that’s less about ego and more about making a nicer world. It’s almost a hollow phrase, but it’s a sustainable way of thinking for the profession.”
See all our stories about Hella Jongerius »
Industrial designer Konstantin Grcic discussed the pros and cons of working with many different companies in a movie we made with him in Milan, saying that he would prefer to work with fewer companies and build long-term relationships with them, but it’s still possible to work with a company on a short-term basis and produce exciting work.
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waste of energy” – Hella Jongerius appeared first on Dezeen.
Advertorial content: Tablets aren’t smaller versions of a laptop or a computer—they’re designed to be held and used in a completely different manner. So it makes no sense that most mobile version of apps tend to mimic their larger desktop…
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