Focus sur le directeur artistique italien Federico Mauro qui présente son dernier projet personnel : une série d’illustrations représentant des gens célèbres au travers de leur simple paire de lunettes. Une création divertissante à découvrir sur son portfolio et en images dans la suite de l’article
News: leading Italian furniture brand Driade has been rescued from bankruptcy by a private finance company.
Driade, which has worked with designers including Philippe Starck, Fabio Novembre and Ross Lovegrove, collapsed last year with debts of €1.7 million and closed its prestigious showroom on Via Manzoni in Milan.
This week investment company Italian Creation Group injected €7 million to rebuild the company, taking 80% of the firm’s equity in the process, according to Milano Finanza.
The group, headed by high-profile businessmen John Perissinotto and Stefano Core, now plans to relaunch the brand.
Driade was founded in 1968 by Enrico Astori and was for a long time one of the most glamorous and adventurous of the Italy’s design-led brands, producing furniture, lighting and homewares.
The company, based in Fossadello near Piacenza, produced iconic pieces including Starck’s three-legged Costes cafe chair (1984) and Tokujin Yoshioka’s monobloc Tokyo-Pop collection (2001).
Core has now become president of Driade while Astori has been named honorary president. His daughter, Elisa Astori, is now creative director.
The rescue comes at a torrid time for the Italian design industry, with many of its small, family-owned companies struggling to stay afloat. After borrowing heavily during the boom years, many of them are seeing sales collapse in the key Italian home market.
In an interview with Dezeen last month Claudio Luti, founder of design brand Kartell, said many Italian firms made a “big, big mistake” by failing to focus on export markets or raise sufficient capital to expand.
“They have perhaps invested too much in innovation and not enough in things like international marketing,” said Luti, who is also president of Milan’s Salone del Mobile furniture fair. “In the past, the companies were profitable, and it was enough to sell to markets close to Milan. But it was a mistake.”
He added: “Also in Italy you have to realise that the policy was not to push capitalism. It was all about small family companies. They didn’t raise capital or list of the stock exchange. There was not this push. On the contrary, it was about staying small. It was a big, big mistake.”
Earlier this month Kartell announced plans to open 50 new stores in China.
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financial rescue appeared first on Dezeen.
For fall, the beloved craftsman behind Postalco introduces a clever and sleek alternative to the keyring. “It’s the simple things that are the hardest to redesign,” says Mike Abelson, Postalco co-founder, pointing out his shiny new Totem Key Holders. Made entirely of…
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3D-printed casts for fractured bones could replace the usual bulky, itchy and smelly plaster or fibreglass ones in this conceptual project by Victoria University of Wellington graduate Jake Evill.
The prototype Cortex cast is lightweight, ventilated, washable and thin enough to fit under a shirt sleeve.
A patient would have the bones x-rayed and the outside of the limb 3D-scanned. Computer software would then determine the optimum bespoke shape, with denser support focussed around the fracture itself.
The polyamide pieces would be printed on-site and clip into place with fastenings that can’t be undone until the healing process is complete, when they would be taken off with tools at the hospital as normal. Unlike current casts, the materials could then be recycled.
“At the moment, 3D printing of the cast takes around three hours whereas a plaster cast is three to nine minutes, but requires 24-72 hours to be fully set,” says the designer. “With the improvement of 3D printing, we could see a big reduction in the time it takes to print in the future.”
He worked with the orthopaedic department of his university on the project and is now looking for backing to develop the idea further.
Jake Evill has just graduated from the Architecture and Design faculty at Victoria University of Wellington, with a Major in Media Design and a Minor in Industrial Design.
Read more about how 3D printing is transforming healthcare in an extract from our one-off publication Print Shift, including bespoke prothetic limbs and printed organs for transplants.
Here’s some more information from Evill:
After many centuries of splints and cumbersome plaster casts that have been the itchy and smelly bane of millions of children, adults and the aged alike, the world over, we at last bring fracture support into the twenty-first century.
The Cortex exoskeletal cast provides a highly technical and trauma-zone-localised support system that is fully ventilated, super light, shower friendly, hygienic, recyclable and stylish.
The Cortex cast utilises the x-ray and 3D scan of a patient with a fracture and generates a 3D model in relation to the point of fracture.
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by Jake Evill appeared first on Dezeen.
Focus sur le photographe turc Cihan Unalan qui rend hommage à quelques-unes des plus belles voitures présentées au cinéma, dont le design a fortement influencé notre façon de percevoir l’innovation. Une superbe série pour un très bel éloge avec « Cars We Love » à découvrir en images dans la suite de l’article.
Sitting at the south end of New York City’s High Line park, the Renzo Piano work-in-progress is the Whitney Museum’s future home. The team behind the project is…
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Marcantonio Raimondi Malerba est un designer italien basé à Cesena qui aime s’inspirer du monde animal pour créer divers objets. Avec « Sending Animals » cet artiste nous propose de découvrir des meubles en bois sous la forme de silhouettes d’animaux tels que la vache, le cochon ou encore l’oie. A découvrir dans la suite.
Après avoir présenté de superbes colonnes de 3 mètres de haut, le duo Digital Grotesque composé de Michael Hansmeyer et Benjamin Dillenburger revient avec ce prototype à échelle 1/3 d’une pièce entière imprimée en 3D qu’ils vont bientôt présenter à taille réelle dans le cadre de la Materializing Exhibition à Tokyo.
Product news: these coffee tables with interlocking wooden legs by German studio Ding3000 have been put into production by Danish brand Normann Copenhagen (+ slideshow).
Ding300s‘s design is based on brain-teaser puzzles that join three pieces of wood together as one to form what looks to be an inseparable knot.
“The three legs seem to pierce through each other in an impossible way and our intention is to draw attention to this almost magical detail,” say the designers. “That is also why we have chosen a transparent top, so the table’s key focus point is the joining of the legs”.
The coffee tables are assembled without any screws or tools and the pieces of oak simply slot together to create a single sculptural form, which becomes the base for a glass tabletop. The base is held firm due to specific shapes cut into each individual leg.
The designers first showed the table as a prototype in 2011, along with cutlery based on the same joint, and it’s now part of Normann Copenhagen‘s collection.
The legs come in natural, orange or black, and the top is available in transparent or smoked glass.
We’ve featured a variety of coffee tables, including Glimpt’s Peruvian hand-carved wooden design, Foster + Partners’ base created by stretching a perforated disk of steel and Reinier de Jong’s coffee table for REK which can be expanded by sliding out sections in any direction.
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for Normann Copenhagen appeared first on Dezeen.
These 3D-printed accessories by London fashion designer Catherine Wales can be ordered to fit any body shape and printed on demand (+ slideshow).
Wales creates a digital avatar of the prospective wearer using a 3D scanner so each piece can be custom designed and built specifically for their body shape.
“[The idea] started with a message to the industry that we don’t need size labels in our garments,” Wales told Dezeen. “I felt that the fashion industry needed to integrate more techonology to reflect where society was going.”
The Project DNA collection includes a corset with perforations across the bodice to hold elements resembling scaffolding, which connect to spherical joints that can be added to and altered. “I used my pattern-cutting knowledge to change form and accentuate or reduce parts of the body,” said Wales.
A shoulder piece designed to emulate plumage and a mask that frames sections of the face also feature in the range. She created the attire using a combination of engineering programs to model complicated joints and creative software to build the sculptural forms.
Local studio Digits2Widgets provided the equipment to laser sinter the pieces from nylon, which Wales used because “all the joints needed to be flexible.”
The corset, shoulder adornment and horn mask are on display as part of an exhibition with 3D-printing platform Ground3D at the MoBA fashion biennale in Arnhem, the Netherlands. The event is curated by trend forecaster Li Edelkoort and themed Fetishism in Fashion, which continues until 21 July.
“Corsets have been used in that area for centuries,” Wales states. “Restricting and changing the shape of the body through these accessories all fits in with the fetishism theme.”
Earlier today we published a round-up of digital fashion on Dezeen, which includes dresses that squirm when they’re stared at and 3D-printed garments by Iris van Herpen.
Van Herpen spoke to us about how 3D printing is revolutionising the fashion industry in an interview for our print-on-demand magazine Print Shift, predicting that “everybody could have their own body scanned and just order clothes that fit perfectly.”
Photography is by Christine Kreiselmaier.
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More information from the designer follows:
Project DNA is the three-dimensional accessories collection from London-based designer, Catherine Wales. At the helm of the world’s third industrial revolution, Catherine’s debut offering cross-pollinates high fashion, technology and science to re-evaluate conventional methods of garment construction and push the boundaries of digital fabrication within the luxury market.
Inspired by identity and the visual structure of human chromosomes, Project DNA is created almost entirely with individual and interchangeable ball and socket components that allow it to be built in a number of directions. Produced using white nylon with a 3D printer, the eight-piece collection encompasses a scaffolded corset, a blossoming feathered shoulder piece and a waist bracelet complemented by four transformative headpieces that hide key areas of the face; including a guilded horn and a mirrored mask, and a cut out visor helmet.
Catherine’s futuristic collection is completely unique and can be used both editorially to stimulate conceptual thinking and scientifically to develop the capabilities of luxury fashion prototyping within the 3D space.
As an expert pattern cutter, Catherine originally approached Project DNA with a view to sustainably solve the current complications surrounding garment sizing and manufacturing restrictions. In this way, the collection embraces technological developments in order to cut down wastage and better support consumer demand.
Designs can be ordered and printed on demand.
The post Project DNA by
Catherine Wales appeared first on Dezeen.
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