Each outfit in this series crafted from paper by students in Estonia represents a different month (+ slideshow).
January by Leelo-Mai Aunbaum
Tutored by fashion designer Marit Ilison, the group of Estonian Academy of Arts students were limited to using paper from a single company though they had free reign over colours and forms.
February by Triin Uibo
“It was a very quick course, so students had two weeks for research and then two weeks to test and execute real costumes,” Ilison told Dezeen.
March by Eelin Lepik
This photo set styled by Ilison was used to create a calendar for paper brand Antalis.
April by Kerti Pahk
“I selected best 12 outfits from 24 participators, then I proposed the idea of a calendar to Antalis and they liked it,” said Ilison. “Later we selected and decided which photo would portray which month.”
May by Maria Kahnweiler
The first two wintery pieces were made from white sheets, with January’s design comprising layers of circular sections with strips cut out.
June by Marion Piirmets
For the second, long tubes crossed the body to form a scuptural dress while shorter rolls were stacked into a headpiece.
July by Birgitta Silberg
Moving into Spring, floral shapes adorned outfits as geometric seed pods and then scrunched up pink petals.
August by Karl Keskla
July’s offering saw the material edged in red, looped tightly back and forth to create giant ruffles similar to Elizabethan neck pieces.
September by Anna Baboshina
Colours became more somber on the autumnal garments, particularly the collection of brown shapes built up around the body and extended over the head that looked like leaves ready to fall.
October by Jelena Rumyantseva
For December reams of colourful ribbon-like strips splayed from the shoulders and curled up by the ends, with some tied in a bow at the neck.
Jacinta Danielle Conza est une jeune designer néo-zélandaise de 20 ans passionnée de sneakers qui propose ce livre pour apprendre à compter aux enfants de 1 à 10 en utilisant les dix premiers modèles de Air Jordan. Un projet à la fois plein de fantaisie et très bien réalisé pour les fans de sneakers, petits ou grands.
News: billionaire technology tycoon Elon Musk has unveiled his vision for the future of design, with modelling software controlled by hand gestures linked to 3D printers.
In a movie published this week, Musk demonstrates a variety of motion capture, virtual reality and 3D printing technologies that his space transport firm SpaceX has been combining to improve their design and production methods for making rocket components.
“I believe we’re on the verge of a major breakthrough in design and manufacturing in being able to take the concept of something from your mind, translate that into a 3D object really intuitively on the computer and then take that virtual 3D object and make it real just by printing it,” Musk says in the movie.
Wireframe model edited using Leap Motion
The entrepreneur says that present methods of interacting with computers feel uncomfortable: “We try to create 3D objects using 2D tools, which just don’t feel natural.”
He explains that SpaceX has integrated sensor and visualisation technologies to develop a more natural and efficient method for designers to view and modify designs using gestures.
CAD model edited using hand-gestures
“If you can just go in there and do what you need to do – just understanding the fundamentals of how the thing should work, as opposed to figure out how to make the computer make it work – then you can achieve a lot more in a lot shorter period of time,” he says.
In the film Musk demonstrates an interactive technology called Leap Motion that allows users to control visuals on a computer screen. He grabs, rotates and spins a wireframe model of a rocket engine by making simple hand movements in mid-air such as pinching and swiping.
3D projection on glass
He also shows the 3D wireframe technology projected onto glass, like the technology seen in sci-fi movie Iron Man. In a final demonstration, Musk shows how SpaceX has used Oculus Rift virtual reality headsets to edit a digital model of an engine in virtual space.
News: the creator of an anti-diarrhoea pack for the developing world that was named product design of the year for the way it fits inside Coca-Cola crates has admitted that “hardly any” kits have been shipped this way, and has dropped the strategy in favour of more conventional packaging and distribution.
“Putting the kits in the crates has turned out not to be the key innovation,” admitted social entrepreneur Simon Berry in a radio interview broadcast last weekend.
Instead, he said he is now focussing on creating a “value chain” to incentivise distributors and retailers across Africa. “That pack, sitting in that Coca-Cola crate, gets everyone very excited but it is quickly becoming a metaphor for what we’re doing.”
Berry travelled to the village of Kanchele in Zambia, where the product is being trialled, with BBC global business correspondent Peter Day as part of the programme broadcast on BBC Radio 4.
“I have to say Simon though, this is a bit of a con,” Day said on discovering the innovative strategy had been dropped. “You got this award for the design product of the year, very ingenious, very clever, because it fitted into a crate of bottles. You’ve abandoned the crate of bottles distribution now, so it comes in very conventional, ordinary packs. You’re nothing to do with cola now. In other words, the design is almost incidental.”
Berry replied: “We are piggybacking on Coca-Cola in the sense that we’re using their ideas, we’re using all their wholesalers, who are very well respected and know how to look after stuff, but putting the kits in the crates has turned out not to be the key innovation.”
“In the end, hardly any of our kits have been put into [Coca-Cola] crates,” he said. “Instead, what has worked is copying Coca-Cola’s business techniques: create a desirable product, market it like mad, and put the product in a distribution system at a price so that everyone can make a profit. If there is demand and retailers can make a profit, then they will do anything to meet that demand.”
Kit Yamoyo means “kit of life” in several African languages. The pack contains oral rehydration salts and zinc to treat diarrhoea, and a bar of soap. The plastic outer shell, which was originally designed to fit in the gaps between bottles in a Coca-Cola crate, doubles as a measure and cup for the medicine.
Diarrhoea kills more children in Africa than HIV, malaria and measles combined. Last April, Berry’s kit was named winner of the product design category in the Design Museum’s Designs of the Year awards.
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News: Swiss design brand Vitra has acquired Artek, the Finnish furniture company co-founded by Modernist architect Alvar Aalto in 1935.
Vitra succeeds Swedish family-owned investment company Proventus, who took over majority ownership of the brand from the founders’ families in 1992.
Artek CEO Mirkku Kullberg said the buy-out is intended to give the brand a more international presence. “The international dimension, which was a clear goal already in Artek’s founding manifesto of 1935, needed to be revitalised,” he said. “That arena is where we want to be, and alliances or ownership arrangements are one way of building the future. In our judgment, having an owner from the industry was the best choice for Artek.”
“Vitra has held Aalto and Artek in high regard for decades,” said Vitra chairman Rolf Fehlbaum. “Like Vitra it is a commercial-cultural project which plays an avant-garde role in its sector. For Vitra it is important that Artek can continue and further develop this role.”
Further details of the deal have not been disclosed. A spokesperson from Vitra told Dezeen that Artek will continue to operate as a separate company, with no changes in management or manufacturing for the moment. “Artek and Vitra are both very creative companies so any crossover is likely to be in creative collaborations,” she added. Artek is already the distributor for Vitra’s furniture in Finland.
Artek was founded in 1935 by Aalto and his wife Aino, art promoter Maire Gullichsen and art historian Nils-Gustav Hahl. The company’s core archive comprises Aalto’s birch wood furniture designs including Armchair 41 created for the Paimio Sanatorium he completed in 1932 (pictured) and Stool 60, the much-copied classic that’s been in continuous production since 1933. The brand is extending its range and has recently acquired the rights to Finnish designer Ilmari Tapiovaara’s furniture.
In recent years the brand has also been collaborating with high-profile contemporary designers including Shigeru Ban and Naoto Fukasawa.
On 6 September 2013, Vitra acquired the Finnish company Artek
A renowned design company founded in 1935 in Finland by architect Alvar Aalto and his wife Aino, art promoter Maire Gullichsen and art historian Nils-Gustav Hahl, Artek was built upon the radical business plan to “sell furniture and to promote a modern culture of habitation by exhibitions and other educational means.” Artek has become one of the most innovative contributors to modern design, building on the heritage of Alvar Aalto.
“Vitra has held Aalto and Artek in high regard for decades,” explains Rolf Fehlbaum, a member of Vitra’s Board of Directors. “The Finnish design company is more than a collection of furniture; like Vitra it is a commercial-cultural project which plays an avant-garde role in its sector. For Vitra it is important that Artek can continue and further develop this role.”
Artek will continue as a separate entity. Synergies between different operations will be explored. They primarily relate to manufacturing, distribution and logistics.
Mirkku Kullberg, Artek’s CEO, says: “The international dimension, which was a clear goal already in Artek’s founding manifesto of 1935, needed to be revitalized. That arena is where we want to be, and alliances or ownership arrangements are one way of building the future. In our judgment, having an owner from the industry was the best choice for Artek.”
Kullberg continues: “This is a great opportunity for the Finnish design industry and a major move for Artek, lifting the company to the next stage.”
The core of the Artek product range consists of Alvar Aalto’s furniture and lighting designs. Under its new portfolio strategy, Artek is extending the range and has acquired the rights to Ilmari Tapiovaara’s furniture collection. In parallel, Artek also continues to work in close collaboration with prominent international architects, designers and artists, such as Eero Aarnio, Shigeru Ban, Naoto Fukasawa, Harri Koskinen, Juha Leiviskä, Enzo Mari and Tobias Rehberger.
As an important player in the modernist movement and in the spirit of its radical founders, Artek remains in the vanguard as it searches for new paths within and between the disciplines of design, architecture and art. “There is definitely a comeback of Nordic design and there is a renewed appreciation of Aalto’s work. Tapiovaara of course is much less known internationally, and it is high time that he be discovered,” Rolf Fehlbaum adds.
The partnership between Vitra and Artek is based on shared values. Proventus CEO Daniel Sachs, former owner of Artek, explains the decision of the transaction: “Vitra has the ideal corporate culture, know-how and industrial resources to take Artek to the next level.”
Pep Bosch a réalisé pour la marque IKEA cette jolie publicité « Start Something New ». Produite par Trigger Happy Productions, cette vidéo nous montre qu’une simple chaise peut nous permettre de parcourir le monde et de se réinventer. Une création et une campagne à découvrir dans la suite de l’article.
Japanese architect Kengo Kuma has bent bamboo into walkways and seating areas at this year’s Gwangju Design Biennale in South Korea, which opens today.
Kengo Kuma spilt the bamboo into three-centimetre-wide strips to make it easy to bend, so visitors to the Gwangju Design Biennale can walk over or recline on the springy surfaces.
Bamboo is a common material in both Japanese and Korean architecture and Kuma used it in this installation for its flexibility and tactility.
“The objective of my exhibit at the Biennale is to reconnect the human body with architecture,” said Kuma.
On each section the ends of the bamboo strips are attached along two edges of a fixed base, bowing up against each other where the two sides meet in the middle.
This causes one side to curl back on itself and the other to flow over the top, making a wave shape.
The curves create seating areas that can be leant up against or laid down on.
At the biennale the waves outside form a twenty-metre-long passage between two exhibition halls, where loose strands along the top quiver in the wind.
The direction of the waves is alternated so one side is always open but the walkway is constantly covered.
The same design continues inside one of the galleries, where staggered sections create smaller pockets of seating space.
In the dark exhibition space elements are lit from below, illuminating the splaying strands.
Open until 3 November, the Gwangju Design Biennale also features the travelling Designed To Win exhibition of sport equipment first shown last year at London’s Design Museum during the Olympic Games.
Nike London vient d’achever une refonte de ses bureaux. Avec des travaux dirigés par l’agence créative Rosie Lee, la marque à la virgule dispose maintenant de superbes espaces avec des zones spéciales pour les univers ‘Air Jordan’, ‘Mercurial’ ou encore ‘Air Max 180′. A découvrir dans l’article avec images et vidéo.
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