Basé en Australie, le collectif Sibling a imaginé cette série de rangements et d’espaces de stockage très réussis. Avec deux pods réalisés par Jonathan Brener et Qianyi Lim, ces créations originales « Wooden Sleeping Pods » proposent une optimisation de l’espace à travers différents types de rangement.
Samir Sadikhov, designer originaire d’Azerbaïdjan, nous offre des images 3D d’une qualité époustouflante d’un concept car Aston Martin DBC. Il s’est inspiré de la voiture de course DBR1 pour imaginer cette voiture au design impressionnant, mise en avant par un rendu 3D du plus bel effet. Plus dans la suite.
Product news: architect David Adjaye has unveiled his first furniture collection, designed for American retailer Knoll, which includes two cantilevered side chairs and a limited edition coffee table.
David Adjaye developed the Washington Collection alongside his design for the Smithsonian National Museum of African American History and Culture in Washington DC, which is currently under construction.
“This project has been an exhilarating and collaborative experience – an unexpected balancing act between the design and engineering processes,” said Adjaye. “My original idea of what this furniture should be was continuously refined and transformed throughout.”
The Washington Collection, which also includes a club chair, ottoman and side table, will be launched by Knoll in October.
The Washington Corona coffee table is made from four cast bronze panels referencing the bronze lattice that wraps around the museum in Washington and will be available in a limited edition of 75 pieces, marking Knoll’s 75th anniversary.
The Washington Skeleton and Washington Skin chairs balance on a cantilevered stand and are suitable for outdoor use.
The lattice design of the Skeleton chair is constructed from die-cast aluminium, while the Skin version is made from injection-moulded nylon.
David Adjaye won the design competition for the Smithsonian National Museum of African American History and Culture museum back in 2009 and construction began in February 2012.
Adjaye recently designed an observatory and education centre with spiralling stone walls to be built on an island in the English Channel, and a silk-weaving facility in India.
At Design Indaba earlier this year, David Adjaye told us about his relationship with Africa and why he believes the continent provides a great opportunity for architects. See more stories about David Adjaye.
Architect Rem Koolhaas also launched a furniture collection with Knoll at the Milan Furniture Fair this year, which journalist Justin McGuirk told Dezeen was the most interesting thing he saw during the event. See more stories about Knoll furniture.
Here are some more details from Knoll:
The Washington Collection for Knoll, David Adjaye’s first collection of furniture, transforms his architectural and sculptural vision into accessible objects for the home and office. The collection consists of two cantilevered side chairs, a club chair, an ottoman, a side table and a monumental coffee table.
David Adjaye said, “Knoll approaches furniture as making connections between people and how they work and live their daily lives. This project has been an exhilarating and collaborative experience – an unexpected balancing act between the design and engineering processes. My original idea of what this furniture should be was continuously refined and transformed throughout.”
Commenting on Adjaye’s work, Knoll design director Benjamin Pardo said, “David is doing really innovative and important architectural projects, and what really interested us was to see that work on an entirely new scale.”
Adjaye’s limited edition cast bronze coffee table reflects this cross-over. The sculptural table with a clear glass top is constructed from four cast bronze panels, and four connecting plates. The roughhewn exterior contrasts the highly reflective, hand polished interior surface. To mark our 75th anniversary the bronze coffee table is limited to an edition of 75.
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by David Adjaye for Knoll appeared first on Dezeen.
Architect Julien De Smedt has launched Makers With Agendas, a new design brand with products ranging from solutions to natural disasters and humanitarian crises to coat hooks and tea sets (+ slideshow + interview).
Makers With Agendas, co-founded by De Smedt and William Ravn of JDS Architects, launches tomorrow at Maison & Objet in Paris. The first collection includes a folding wooden trestle, coloured tea set, a wooden easel for displaying paintings and a butterfly-shaped coat hook that can also be used to hold keys or small accessories.
Future projects will address bigger issues, De Smedt told Dezeen. “We’re looking at displacement situations around the globe from either natural disasters such as tsunamis and earthquakes or political conditions leading to civil wars or genocides – and will use our research to create a product addressing it,” De Smedt said.
Makers With Agendas will also be exhibited at Design September in Brussels and later in the year at the Makers With Agendas store in Copenhagen and the New Museum Store in New York.
Prior to founding JDS Architects, De Smedt worked with OMA/Rem Koolhaas and co-founded Copenhagen architecture firm PLOT with Danish architect Bjarke Ingels.
Other stories about Julien De Smedt include a stacked shelving system and a harbour-side housing development that looks like a cluster of icebergs. See all our features about JDS Architects »
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Photography is by Nikolaj Møller.
Here’s a transcript of the interview with Julien De Smedt:
Marcus Fairs: Why have you decided to launch Makers With Agendas?
Julien De Smedt: Makers’ comes for me at the confluence of three flows of needs and desires – to have a recipient for experiments, to address societal issues and to realise things exactly as I want them to be, rather than being a necessary compromise, however successful this compromise might be.
Marcus Fairs: What does the name mean?
Julien De Smedt: We’re a capacity. We’re designers, thinkers and producers. And since ultimately what matters is the result of our ideas, we put the emphasis on the act, the making. But it is not a random action, it’s intentional. We have agendas. Each of our projects tackles issues, provide answers and creates new meaning.
Marcus Fairs: What products you are launching and why? What’s different about them?
Julien De Smedt: We’re launching six products and have another six in the pipeline. Our first set is focusing on issues of transport, compactness and domestic needs. It sets the tone: even in casual settings we bring a different approach.
Our trestle, Accordion, folds into a single stick making it the most compact of its kind. T.4.2 is a tea set for two people where the cups embrace the teapot. It is our homage to conversation. Stilt gives people a new, nomadic, relationship to their interiors: with it you can move your paintings around the house. No nails are necessary to hang artworks. Butterfly is a coat hook that doubles as key and wallet holder. Who hasn’t run around the house trying to find his or her keys? Swing is a serving tray that allows you to carry full glasses, single handed and without spilling – even if you swing it over your head!
Finally, SMLXL is our first venture in fashion accessories: as one can expect from its name it is four different sized bags in a single design. From a woman stylish purse to a shoulder bag, a backpack and even a big shopper. This last design was also brought into the launch to make a statement and to show that we’re not confined to product design. We’re also working with other designers such as fashion designer Prisca Vilsbøl who was commissioned for this project.
Marcus Fairs: What else is different about the company, apart from the products?
Julien De Smedt: We’re organising ourselves and deciding our designs from another angle: we first take topics that we find relevant, interesting or urgent and we analyse them. From this analysis we extract objects. We’re now looking at displacement situations around the globe from either natural disasters (tsunamis, earthquakes, .etc) or political conditions (leading to civil wars, genocides etc) and will use our research to create a product addressing it.
We’re also working to create awareness of the different aspects of society where design plays a role, whether good or bad. In our poster campaign ‘Design Is…’ we’re discussing issues such as the relationship of the use of Coltan in mobile phones and the biggest death count since World War II, currently occurring in Congo. In a very similar way as Benetton did with [Oliviero] Toscani in the 1980s, we are working with a photographer, Nikolaj Møller, on the concept, message and its physical presence. We’re actually also the only retailer stocking COLORS magazine in our first store in Copenhagen.
Marcus Fairs: Who are your partners in the brand?
Julien De Smedt: We’re two founders: William Ravn and myself. William comes from a more business angle. At age 22 he has already been running multiple successful businesses. He interned at JDS when he was 15! Wouter Dons is the third partner. He has been working for JDS for over 6 years on all my product designs. It felt natural and necessary to have him on the Makers’ team.
Marcus Fairs: What do you plan to do in the future with the brand?
Julien De Smedt: Makers’ is a recipient for ideas for change. We’re not sure where it will go because we thought of it as a capacity rather than a company with a single business plan. For us, we see Makers With Agendas as the platform we use to discuss matters that interest us. So if we stay curious and creative it can go anywhere.
Marcus Fairs: What can architects bring to the design of furniture, tableware etc that can’t already be done by other designers?
Julien De Smedt: I don’t think being an architect grants you anymore skills to do anything better than a designer can. There are good and bad architects just like there are good and bad designers. The difference is in the impact of the crime committed. Architecture is somewhat local only and even if the impact is long lasting, the location is unique. With design the damages go further. It spreads like a virus.
I can only speak for ourselves, as Makers With Agendas: our design orientation is one of ingenuity over beauty, of content rather than looks. Which is why our style is in fact very minimal. We’d like the focus to be on the function and its idea rather than a taste judgment. I function in a very similar way with my architecture. Which is why I often call it ‘performative architecture’. Maker’ projects follow that mantra.
Marcus Fairs: What do you think about the current state of furniture/lighting/homeware design?
Julien De Smedt: I’m not really aware of what is around and do not focus on that. At least not too much. Maybe that’s already a sign of the state of things. That said, I like a lot of products I see but not always for substantial reasons. I just like them.
Marcus Fairs: Your Stacked shelving for MUUTO has been extremely successful. How did that design come about?
Julien De Smedt: I was asked by MUUTO to make a modular shelving system. I have a wall of stacked shelves I collected here and there and from my family in my apartment. It became an immediate inspiration for Stacked. In a way it was a no-brainer: three interchangeable modules of varying capacity, linked together by a simple clip. I think the success comes from the fact that the design isn’t imposed – it’s understated and leaves space for people’s appropriation.
Marcus Fairs: How do you feel about the way Stacked has been so widely imitated?
Julien De Smedt: It’s kind of insane. Sometimes it’s really an issue we can address, but most times there’s nothing we can do. It’s also the risk one takes when one makes understated design: can you really claim to have invented a box? Of course the clip is a different story. That is really our idea.
Marcus Fairs: What architecture projects are you working on at the moment?
Julien De Smedt: I’ve just delivered a large tower project in Mexico City and an entire neighbourhood design in Istanbul, where we’re also building a 100,000 m2 development. Apart from that we’re building our first projects in Asia, in Seoul and Hangzhou.
We’re also under construction of a public project for the city of Lille, a large cultural incubator in Brussels and of course we just delivered the Iceberg in Aarhus and the Kalvebod Waves in the centre of Copenhagen.
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Julien De Smedt and William Ravn appeared first on Dezeen.
L’artiste et designer Daniel Will-Harris a imaginé cette ‘Till Watch’. Proposée à la vente pour 125$, cette montre utilise l’intégration de l’heure en lettres, proposant ainsi une nouvelle approche de lecture. Une création originale spécialement pensée pour les anglophones à découvrir en images dans la suite.
Models at a Norwegian fashion event walked along this looping wooden catwalk designed by Oslo studio Gartnerfuglen Architects (+ slideshow).
Gartnerfuglen Architects an a group of volunteers built the wooden structure for Up [øpp], a non-profit biannual fashion show promoting young Norwegian fashion designers.
Located in a nineteenth-century mechanical workshop, the studio designed the three-dimensional runway to make use of the generous space and create an evocative setting without detracting from the clothes.
“The concept was a three-dimensional walkway making use of both the loftiness and area of the room, creating a poetic and ambient fashion show, with organic motion, gradual transitions and spectacular photo opportunities without stealing focus from the outfits shown on the catwalk,” said the architects.
The models walked up the curving plywood ramp before circling down and underneath the structure in an almost figure-of-eight movement.
Two-by-two lumber sections created a frame with vertical elements that extended above the walkway and cross-bracing between them beneath. Thin rope cordoned the edges higher up for safety.
The length and shape of the catwalk allowed many outfits to be shown at once and gave the audience an unobstructed view wherever they were positioned.
Previously we’ve featured catwalk designs for Neil Barrett, which featured an angular tunnel that extended to form the backdrop, and scenography for Viktor & Rolf’s Autumn Winter 2013 collection by Studio Job.
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Gartnerfuglen Architects send us the information below:
Up Catwalk, Fall 2013
The second Up fashion show was held in a 19th century mechanical workshop, currently used by a car dealership. Inspired by the spectacular catwalks and extravaganza of the biggest fashion companies, the ambition/challenge was to create the same X-factor at a non-profit event based on volunteer work.
Given the large volume of the space, it was necessary to take on the entire floor area to achieve the spectacularity wanted. We wanted to create a “perfect object”, focusing on construction and materiality.
The concept was a three-dimensional walkway making use of both the loftiness and area of the room, creating a poetic and ambient fashion show, with organic motion, gradual transitions and spectacular photo opportunities without stealing focus from the outfits shown on the catwalk.
Based on a simple, yet sturdy, sequence of frames made from 2×2 lumber, organised in crossing circles, the rigidness of the boards was softened by its organic composition and repetition.
Assisted by a hard working group of volunteers, this self-built centrepiece structure was finished after a three day workshop. The result was a visually striking object.
The catwalk’s gliding movement in three dimensions, its height and length, give the outfits good exposure. Several models can appear on the catwalk at the same time, with the different overlapping presentations creating an interesting dynamism.
In addition to the aesthetic, the catwalk’s stretch provided the entire audience with front row seats. The models were also given enough time to show the designs, without making the show monotonous
Spectators were allowed both inside and outside the catwalk circles. It also facilitated logistics to make a seamless event.
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Gartnerfuglen Architects appeared first on Dezeen.
These magnetic headphone jacks by New York designer Jon Patterson split in two when tugged to prevent damaging devices when wires get snagged (+ movie).
“I always break my headphones from cord snagging and sometimes I break my device completely,” Jon Patterson said.
His Pogo connector comprises two parts joined by magnets – one with a jack that fits into the headphone socket on the device, and a second longer piece that accommodates the jack from the headphones.
The signal is transferred between the two parts via four pins, but once the cord is yanked away they disconnect and the music stops until the sections are reconnected. “The magnet is strong enough to hold the device but will break upon force,” says Patterson in the video demonstration.
It can be use as a straight connection or at a ninety-degree angle, where it can fully rotate.
Jack sections can be left in devices and a receiver piece can be kept on the headphones, so swapping between different equipment is simple.
Other gadgets on Dezeen include a stylus that straps over the nose for using touch-screen phones in the bath and an inkjet printer that eats its way down through a stack of paper.
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by Jon Patterson appeared first on Dezeen.
Recently, CH spoke to architect and designer David Adjaye, a rising star whose award-winning firm is working on the National Museum of African American History and Culture for the Smithsonian in Washington, DC. A thoughtful…
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London film agency SHOWstudio has unveiled a 3D animation of Barbie’s new Dreamhouse, a concrete brutalist dystopia, designed by fashion designer Roksanda Ilincic (+ slideshow + movie).
SHOWstudio has collaborated with Roksanda Ilincic to create a new home for the toy doll, her tenth home since 1962. It features a cluster of brutalist structures, a forest of silver birch trees on the roof and a basement cinema. Unlike its plastic predecessors the house exists as a virtual environment.
“Working in 3D has allowed us to push the boundaries of reality – using impossible materials and defying gravity to create a striking and dynamic outcome fuelled by Roksanda’s imagination,” said SHOWstudio’s digital art director, Jon Emmony.
Inside Barbie’s new home there is a soundproofed sleeping chamber, a sunken lounge, flat screen TV, an elevator and a jacuzzi. The surrounding landscape appears as a “seemingly endless expanse of velvety black,” according to the designers.
The concrete buildings are lit in pink and blue hues and in SHOWstudio’s animation appear to grow from a bubbling liquid before taking shape as digital structures.
“A combination of light and dark, strength and fragility, elegance and hard edge form the framework behind Roksanda’s vision for Barbie’s new dreamhouse,” said toy manufacturer Mattel. “Large expanses coupled with intimate intricacies give the living spaces variety and depth. The modular nature of the furnishings and rooms lend themselves to multi-purposes.”
In 2009, Ilinic also designed a limited edition outfit to commemorate Barbie’s 50th birthday and the designer first worked with SHOWstudio in 2010 during London Fashion Week.
Other stories about toys that we’ve featured recently include a miniature furniture range by IKEA and a dolls house that has ramps linking all the floors together.
See more toys on Dezeen »
See all our stories about fashion »
Here’s the full announcement from SHOWstudio:
Barbie’s new Dreamhouse designed by Roksanda Ilincic in collaboration with SHOWstudio
Barbie’s new Dreamhouse launches on SHOWstudio. Having considered moving from her native Malibu earlier this year, Barbie looked to Roksanda Ilincic to create her 21st Century sanctuary. Together with SHOWstudio, Roksanda has designed a new abstract environment with a bold exterior featuring a roof forest of silver birch, and an interior that meanders through a basement movie theatre, soundproofed sleeping chamber, and sunken lounge.
Roksanda says: “It’s been exciting to see the external structure take shape in 3D, and the technicolour aspect of the roof forest come to life. I’m sure Barbie will be seduced by her new concrete residence.”
For the exterior, SHOWstudio wanted to create a hard and imposing structure that complimented Roksanda’s strong graphic aesthetic. The landscape features shards of material that sit in a seemingly endless expanse of velvety black.
The structure itself is bathed in hues of pink and blue; colours that reflect both the visual identity of Barbie herself and Roksanda’s Autumn/Winter 2013 palette. SHOWstudio wanted to merge the abstract and sublime with the strong and bold. In their animation, the house forms itself from the ground up, bubbling from liquid metal, concrete and glass. As the house takes shape, spikes and columns of digital matter form into solid concrete.
Upon the roof sits a rooftop forest of towering silver birch trees. The forest floor bathed below in the glow of digital flora. This reflection of nature contrasts with the digital and manmade feel throughout the rest of the house. A combination of light and dark, strength and fragility, elegance and hard edge form the framework behind Roksanda’s vision for Barbie’s new dreamhouse.
The interior offers a somewhat lightened view of the same aesthetic. Large expanses coupled with intimate intricacies give the living spaces variety and depth. The modular nature of the furnishings and rooms lend themselves to multi purposes. Projections and colour washes give mood and warmth to the starkness.
“Working in 3D has allowed us to push the boundaries of reality; using impossible materials and defying gravity to create a striking and dynamic outcome fuelled by Roksanda’s imagination.” Jon Emmony, Digital Art Director, SHOWstudio.
The Barbie Dreamhouse debuted in 1962, providing girls with the backdrop to play house with Barbie, truly bringing to life Ruth Handler’s vision that Barbie allows girls to role play real life scenarios, and over the past 50 years has been renovated and redesigned more than 10 times and transitioned from cardboard to plastic. Each Dreamhouse is representative of the era the house was built in and is a reflection of the time with unique architectural features and interior design details.
The original Dreamhouse was $8.00 USD, and made of cardboard with simple flat painted details, sleek furniture, a combination television/stereo console, and a Dream Closet with pink plastic hangers. The 1962 Dreamhouse reflected the aesthetic and design of the time.
In 1974 Barbie moved into a three-story Dreamhouse that included a ‘working’ elevator and is considered to be one of the most iconic houses. By 1979 Barbie had upgraded from a cardboard house to plastic with a new Dreamhouse that featured lots of details and accessories from planters and shutters to doors and windows – the symmetrical architecture and ‘A-frame’ roof was a reflection of architecture during the time.
The ’90s brought the Dreamhouse to a new level with the Magical Mansion that featured working sound and light electronics like a ringing telephone and doorbell, a lit fireplace and chandelier. The current Dreamhouse features modern day luxuries including a flat screen TV, an elevator and a whirlpool tub.
About Roksanda Ilincic
Belgrade-born Roksanda Ilincic has shown her womenswear collections on the London Fashion Week schedule since 2005. Her eponymous label has recently grown to include swimwear and childrenswear lines which reflect her signature modern, cool and bold use of colour and shape, for which she has gained global recognition.
Her international customer base and VIP following include appearances on: the Duchess of Cambridge, Michele Obama, Samantha Cameron, Jessica Chastain, Keira Knightley, Gwyneth Paltrow, Rooney Mara, Penelope Cruz, Florence Welch, and Emma Stone, and her work has featured in the recent ‘Ballgowns: British Glamour Since 1950’ exhibition at the Victoria & Albert Museum.
Roksanda has previously dressed a limited edition Barbie to commemorate Barbie’s 50th anniversary in 2009.
About SHOWstudio
Since its foundation in November 2000, SHOWstudio has been passionate about pioneering new technologies and exploring innovative mediums. From live streaming Nick Knight’s photo shoots, to 3D scanning Kate Moss and Naomi Campbell, SHOWstudio’s team has constantly embraced new digital challenges.
SHOWstudio has worked with some of the most influential and acclaimed figures of contemporary fashion, including John Galliano, Kate Moss, Rick Owens, Comme des Garçons and Alexander McQueen.
Alongside these established names, SHOWstudio has also supported and nurtured emerging talent, including Giles Deacon, Gareth Pugh, Rodarte, J.W. Anderson and Mary Katrantzou, offering exciting new designers an important global showcase for creative expression. SHOWstudio has also worked with pop culture icons and creatives from the world of art, music and film including Tracey Emin, Björk, Brad Pitt and Lady Gaga.
As champions of fashion film and live media, SHOWstudio has worked with the world’s most sought-after filmmakers, writers and cultural figures to create visionary online content, exploring every facet of fashion through moving image, illustration, photography and written word.
About Barbie
Barbie has called Malibu her home since 1971, hitting the sand in her pastel blue bathing suit and sun-kissed tan. Building a long résumé of careers, reuniting with her boyfriend Ken, and filming her own reality show.
In the past 50 years, Barbie has established herself as one of the world’s leading fashion icons, and has been dressed by leading design talents including: Alaïa, Burberry, Comme des Garçons, Chanel, Louis Vuitton, Prada, Louise Gray and Roksanda Ilincic.
Barbie first broke the plastic ceiling in the 60s when, as an astronaut, she went to space four years before man walked on the moon. In the 80s she took to the boardroom as ‘Day to Night’ CEO Barbie, just as women began to break into management. And in the 90s, she ran for President, before any female candidate ever made it onto the presidential ballot.
Barbie has even been a UNICEF Summit diplomat, an ambassador for world peace, a surgeon, and a computer engineer, amongst her myriad careers.
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Roksanda Ilincic and SHOWstudio appeared first on Dezeen.
Gregoire De Lafforest décide de casser les conventions en intégrant à une console, une cage à oiseaux et des cloches de verre communiquant entre elles. Inspiré notamment des cabinets de curiosités et réalisé par les Ateliers Seewhy, son incroyable projet est exposé en ce moment à la Galerie Gosserez.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
