Reflet by Claire Lavabre

French designer Claire Lavabre has made a mirror that only works when it’s placed in front of a dark shape painted on the wall.

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A partial reflection is visible in the bevelled frame if it is placed in front of a white surface but the reflection becomes clear when the glass overlaps with dark matte paint.

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Claire Lavabre used specially treated ultra-reflective glass that also retains high transparency. The effect is an enhanced version of looking at your reflection in a darkened window on a sunny day, or from a lit room when it’s dark outside.

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Lavabre says she wanted to explore surfaces that are both reflective and transparent, overlapping images to create new perspectives. She’s proposed a series of six different geometric shapes and colours to be used with the frame. “In this way the mirror can be appropriated – people can choose the colour they prefer and it can adapt to different places,” Lavabre told Dezeen.

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The project was developed during Lavabre’s studies at École Nationale Supérieure de Création Industrielle (ENSCI) in Paris, where she graduated in December last year. It will be shown at the Design Parade 8 festival as part of an exhibition of work by ten young designers at Villa Noailles in Hyères, France, from 5 to 7 July.

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New York designer Joe Doucet recently created a mirror as a tribute to victims of Hurricane Sandy that gives the impression the viewer is partially submerged, while Canadian studio The Practice of Everyday Design has designed a mirror that displays ghostly reflections on its buffed stainless steel surface – see more mirrors on Dezeen.

Here’s a short project description from the designer:


Reflet

In this project I had a particular interest in reflections. Reflections appear on surfaces that are transparent and reflective at the same time. A tree reflects in a lake, in a train window. I like the overlaying of different images. When we look through the surface it is transparent. The surface tends to disappear like glass. On the contrary, when we look at a reflection on glass, this surface exists. It finds a presence by sending us our own image.

dezeen_Reflet by Claire Lavabre_7

A geometric shape is drawn on a wall with paint. The frame of the reflective surface is leant on the wall. When this geometric shape and the reflective surface intersect, the reflection increases and this installation finds use. The geometric shape’s colours and shapes are numerous. Reflection system: wood frame, glass, paint. Variable shape and size.

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(No)where (Now)here: Two Gaze-activated Dresses by Ying Gao

Fashion designer Ying Gao has fabricated a pair of dresses that writhe around and light up when someone stares at them (+ movie).

(No)where (Now)here: two gaze-activated dresses by Ying Gao

“We use an eye-tracking system so the dresses move when a spectator is staring,” Ying Gao told Dezeen. “[The system] can also turn off the lights, then the dresses illuminate.”

(No)where (Now)here: two gaze-activated dresses by Ying Gao

The gaze-activated dresses are embedded with eye-tracking technology that responds to an observer’s gaze by activating tiny motors to move parts of the dresses in mesmerising patterns.

(No)where (Now)here: two gaze-activated dresses by Ying Gao

One dress is covered in tendrils of photo-luminescent thread that dangle from ruched fabric. On the other, glow-in-the-dark threads form a base layer with fabric cut into ribbons loosely bunched over the top.

(No)where (Now)here: two gaze-activated dresses by Ying Gao

With the lights off they create an effect similar to glowing sea creatures.

(No)where (Now)here: two gaze-activated dresses by Ying Gao

Called (No)where (Now)here: Two Gaze-activated Dresses the project will be exhibited at the Shanghai Museum of Contemporary Art in November, then at the Textile Museum of Canada in spring 2014.

(No)where (Now)here: two gaze-activated dresses by Ying Gao

Ying Gao has also designed dresses that curl and unfurl in reaction to light, as well as garments that move as if they are breathing.

(No)where (Now)here: two gaze-activated dresses by Ying Gao

We’ve previously written about an eye-tracking camera that’s controlled by blinking and squinting, plus plans to mark roads with luminescent paint so they glow at night.

(No)where (Now)here: two gaze-activated dresses by Ying Gao

See more fashion design »

Here’s some more information from Ying Gao:


(NO)WHERE (NOW)HERE: 2 interactive dresses

The project was inspired by the essay entitled “Esthétique de la disparition” (The aesthetic of disappearance) by Paul Virilio (1979).

“Absence often occurs at breakfast time – the tea cup dropped, then spilled on the table being one of its most common consequences. Absence lasts but a few seconds, its beginning and end are sudden. However closed to outside impressions, the senses are awake. The return is as immediate as the departure, the suspended word or movement is picked up where it was left off as conscious time automatically reconstructs itself, thus becoming continuous and free of any apparent interruption.”

The series comprising two dresses, made of photoluminescent thread and imbedded eye-tracking technology, is activated by a spectators’ gaze. A photograph is said to be “spoiled” by blinking eyes – here however, the concept of presence and of disappearance are questioned, as the experience of chiaroscuro (clarity/obscurity) is achieved through an unfixed gaze.

Super organza, photoluminescent thread, PVDF, electronic devices.

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Dresses by Ying Gao
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In Orbit

L’artiste argentin Tomás Saraceno installe sa dernière création « In Orbit » au dessus de la place du musée K21 Standehaus à Dusseldorf à 25 mètres de haut. Sur trois niveaux, elle pourra être investie par les visiteurs qui pourront s’y déplacer. Une création arachnéenne et céleste à découvrir dans la suite.

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Stealth Wear by Adam Harvey

This range of anti-drone clothing was created by New York designer Adam Harvey to hide the wearer from heat detection technologies.

Stealth Wear by Adam Harvey

Drones, also known as unmanned aerial vehicles, can be equipped with thermal imaging cameras and deployed by the military or police to locate individuals using heat signatures. The metallic fibres in Harvey‘s lightweight garments reflect heat, masking the wearer’s thermal signature and rendering them undetectable.

Stealth Wear by Adam Harvey

Three pieces make up the collection including a zip up cape with a peaked hat, which almost completely cloaks the body, and a scarf that can be draped where needed. “Conceptually, these garments align themselves with the rationale behind the traditional hijab and burqa: to act as ‘the veil which separates man or the world from God,’ replacing God with drone,” says Harvey.

Stealth Wear by Adam Harvey

The cropped hoodie is designed to cover the head and shoulders, areas that would be exposed to drones overhead. Pieces were designed in collaboration with New York fashion designer Johanna Bloomfield. All images are copyright Adam Harvery/ahprojects.com.

Stealth Wear by Adam Harvey

In his lastest opinion column, Sam Jacob discusses how US surveillance programme PRISM and the impact of digital culture are influencing design thinking.

Stealth Wear by Adam Harvey

Our other stories about design based on surveillance include eavesdropping devices that were presented at an exhibition in Israel and lights modelled on security cameras.

See more design for surveillance »
See more fashion design »

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Locale Office Furniture by Industrial Facility for Herman Miller

Product news: London studio Industrial Facility has designed an office furniture system for American manufacturer Herman Miller that promotes interaction in the workplace (+ slideshow).

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Industrial Facility created cantilevered tables with rounded edges to encourage movement and provide space for users to gather round work stations as they would around a meeting table.

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Low, linear units covered in vertical planking combine to create a unifying spine along which modules acting as desks, social areas, meeting tables and a library can be arranged.

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Screens wrap around the desks to provide privacy, while the height of tables, screens, easels and storage can be adjusted to create a more personal and less rigid arrangement.

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“One could argue that collaboration is a buzzword right now, that somehow it might go away, but we think this is unimaginable,” says Sam Hecht of Industrial Facility. “People are collaborating globally, empowered by digital networks, but the most ambitious businesses still need productive, collaborative physical environments.”

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The system was presented as part of Herman Miller’s Living Office project at the Neocon trade fair in Chicago last week, alongside modular office furniture by Yves Behar’s San Francisco studio Fuseproject.

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Sam Hecht and Kim Colin of Industrial Facility previously collaborated with Herman Miller on a two-tier work table with a sliding surface, and launched new products in Milan this year including a lamp that projects light onto the tabletop and a three-legged wooden stool.

More design by Industrial Facility »
More design by Herman Miller »
More office furniture design »

Here’s some more information from Industrial Facility:


Locale Office Furniture

What is work today? It is as much about the individual as it is about the company. It is the individual who brings an organization to life. An organisation benefits from creating an office environment that connects people in a more natural way. The reason to come to work is to work together, to collaborate. Herman Miller, Living Office.

dezeen_Locale Office Furniture by Industrial Facility_2

Locale is an intelligent office furniture system that previewed at NeoCon 2013 as part of Herman Miller’s Living Office. Locale promotes collaboration at work by creating dynamic, high-performance neighborhoods that allow for free movement, variety and adjustability. Locale makes working together simpler and more pleasurable by promoting interaction around large, adjustable tables, and by fostering easy transition between focussed work and collaboration. Cantilevered, rounded work surfaces give individuals more space to change position throughout the day and can easily accommodate multiple colleagues to sit or stand together without the clutter of legs at floor level. Locale simplifies the usual chaos of collaborative work and cleverly balances individual and group needs within an open plan office.

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Background

Locale has been in development for more than two years. During this time, the conditions of work in terms of atmosphere and attitude have shifted, so it was important that Industrial Facility leapfrog any old preconceptions of the modern office and propose a new place based on deeper social and cultural changes. Herman Miller research noted early in the project that the office now should become ‘a place you want to be’ rather than ‘a place you need to be’. However, Hecht and Colin remained suspicious of recent efforts to evoke a kind of forced playfulness in the office to achieve this. Locale addresses a significant paradigm shift that sees in-person communication as increasingly relevant to productivity, effectiveness and enjoyment at work.

Design

“We often talk about how social networks behave given current technology, where close relationships are not based on physical proximity, but instead on similarity of purpose or interest. You might make an alliance in a social network with someone who is very far away but very close to you in other ways. They are great spatial condensers in this respect. Locale is a physical manifestation of this principle, where the most relevant participants are kept close and communication is fast and frequent.” Kim Colin

Locale organizes the office into clusters of activity along a Workbase, a linear, low, architectonic element that helps give definition and organisation to the open-plan office. Distinct clusters are composed out of different functional modules; the result is that seemingly disparate functions of the office reside comfortably together along one line of the Workbase, which organizes the plan orthogonally. The library, the social setting, the working desk, and the meeting table are all close by and visually coherent along the Workbase. Useful mobile pieces (height-adjustable tables, screens, easels, storage, a refreshment unit) can be ‘pulled up’ to customize the group and individual settings off the Workbase, making an even richer neighborhood. Clusters can be wider or narrower, with adjacencies nearer or further, depending on need.

Spontaneous interaction or unplanned communication increases productivity at work and Locale encourages this in the open plan office without relying on broader architectural-scale social devices like open stairs and community eating areas. Screens attached to the Workbase or parallel and perpendicular desks allow a balance of visual separation and porisity in the cluster. A lot of engineering effort was spent getting rid of legs on the desks and in creating a mobile table and accessories program so that work can occur easily, sitting or standing in a variety of settings.

Locale brings different parts of the office together in proximity so you shouldn’t have to go away to talk to a colleague in a more conducive manner. Instead, you can raise a table, stand, and discuss. You don’t have to move to completely separate spaces to accommodate varied work styles. Locale is planned for availability in the Winter of 2013.

Facts

A third of working people are now mobile, up from a quarter since 2006. The world’s top companies spend 40% of their time collaborating, compared with 21% on focussed work. A healthy work life is one that lets you adjust. To sit, to stand and to walk will let you work better and live longer.

Kim Colin – “We find a lot of value in our own office, which is small, highly productive and considerate. We are all from different parts of the world, which says a lot about how the free movement of people has created a multi-dimensional condition. We collaborate constantly about ideas, methods and opinions. We travel a lot. Our work is never created in cultural isolation, and therefore our office itself behaves like a good, condensed international neighborhood, which is efficient, energetic and pleasurable.”

Sam Hecht – “One could argue that collaboration is a buzzword right now, that somehow it might go away, but we think this is unimaginable. People are collaborating globally, empowered by digital networks, but the most ambitious businesses still need productive, collaborative physical environments. The offices we visited during our research—places where people want to work—are open-plan, transparent, and energetic.”

Client: Herman Miller Inc.
Design: Sam Hecht & Kim Colin, Industrial Facility
Award: NeoCon 2013 Silver Award

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“We never claimed to be designers of the cauldron” says Atopia

One Planet proposal by Atopia

News: New York design studio Atopia has moved to defuse the row over the authorship of the 2012 Olympic cauldron, saying: “we have never accused Thomas Heatherwick of plagiarism”.

Atopia, which presented a concept for a pavilion (top image and below) at the London games to organisers LOCOG in 2007, has published a statement on its website distancing itself from media reports that UK designer Heatherwick copied its design.

One Planet proposal by Atopia

“We have never accused Thomas Heatherwick of plagiarism,” says the statement. “We have never claimed to be designers of the cauldron in spite of claims in the press.”

Instead, Atopia says it believes its “narrative scenario” for the pavilion inspired LOCOG. “All we have sought from LOCOG since July 2012 is a formal acknowledgement of this.”

One Planet proposal by Atopia

“We are entirely focused on the issue of how ideas transmit through large organizations, often organically and unconsciously,” the statement says.

The firm adds: “The issue for us is not about the object nor is it about Heatherwick’s design. It does bear a striking resemblance to our project work and sketchbook from 2008 and as such this has been the point of focus of the press.”

One Planet proposal by Atopia

Atopia has also published its sketchbook of ideas for the London 2012 Olympics, showing how the proposed One Planet pavilion would be constructed from “umbrellas” that would be carried into the stadium by representatives of the competing nations as part of the opening ceremony and assembled into “a lightweight canopy for events”. This canopy would be made from “a large number of umbrellas like flowers”. The images shown in this story come from Atopia’s sketchbook.

One Planet proposal by Atopia

The presentation continues: “After the games the umbrellas are removed in another ceremony launching a new journey for each of them… returning to the participating nations.”

Row over Thomas Heatherwick's cauldron in the Guardian

The row over the design of the cauldron emerged earlier this week when UK newspaper the Guardian published a story highlighting the similarities between Atopia’s proposal and the Heatherwick’s cauldron (above and below), which became one of the most enduring and popular symbols of the games.

Row over Thomas Heatherwick's Olympic cauldron in the Guardian

Heatherwick’s design featured 204 copper “petals”, each representing one of the competing nations. The petals were carried into the stadium by representatives of each team during the opening ceremony and then assembled into a flaming cluster. At the end of the games the petals were sent as gifts to each nation.

Heatherwick, who was awarded a CBE earlier this month for his work on the cauldron, has emphatically rejected claims of plagiarism, saying; “This claim is spurious nonsense. The ludicrous accusation that LOCOG briefed us to work with, develop or implement a pre-existing idea and that we acted in accordance with this briefing is completely and entirely untrue.”

See a movie about the design and testing of Heatherwick’s Cauldron. See all our stories about Thomas Heatherwick.

Below is the full statement from Atopia’s website:


Atopia London 2012 Press Statement

“We have never accused Thomas Heatherwick of plagiarism. We have never claimed to be designers of the cauldron in spite of claims in the press. We are entirely focused on the issue of how ideas transmit through large organizations, often organically and unconsciously. This becomes an even more complex issue when work and material submitted by small organizations is subject to stringent Confidentiality Agreements.

The issue for us is not about the object nor is it about Heatherwick’s design. It does bear a striking resemblance to our project work and sketchbook from 2008 and as such this has been the point of focus of the press. But for us this is not the point. It is the written narrative that we are concerned with as this is key component in the way we work, developing scenarios for clients that allow them to imagine possibilities years ahead of time and catalyze thinking within their organizations to deliver socially engaged innovation­­­­. It is the narrative scenario along with our other tender content that we believe proved inspirational at LOCOG and this is what it was intended to do. All we have sought from LOCOG since July 2012 is a formal acknowledgement of this.”

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Hairbrush by Jack Beveridge and Lizzie Reid

Designers Jack Beveridge and Lizzie Reid have adapted the flocking process to make a hairbrush that’s coated in human hair.

Hairbrush by Jack Beveridge and Lizzie Reid

Flocking involves depositing small fibrous particles onto a surface to make it fuzzy, and Beveridge and Reid cut-up discarded hair to coat the brush.

“Using the off-cuts of human hair from our local hairdresser, we cut the hair down to a length that could be put through an electromagnetic flocking gun,” says Beveridge.

Hairbrush by Jack Beveridge and Lizzie Reid

The back and handle were smeared with adhesive, then the hair particles were negatively charged in the gun so they stuck to the earthed brush when fired.

Hairbrush by Jack Beveridge and Lizzie Reid

We’ve featured a few stories about strange uses of hair, including clumps utilised as the stuffing for plastic pouffes and strands bound in resin to form spectacle frames.

Hairbrush by Jack Beveridge and Lizzie Reid

Recently we published a pair of tweezers made from a single loop of metal and we’ve previously written about shaving brushes with long locks of hair instead of bristles.

Hairbrush by Jack Beveridge and Lizzie Reid

See more stories about design and hair »
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Retro Design Of Cassette

Après son excellente série Flight Tag Prints, l’illustrateur anglais Neil Stevens s’est inspiré de des éléments visuels et des couleurs de différentes cassettes audio pour imaginer « Retro Graphic Design Of Cassette » des créations rétro très réussies en posters à découvrir dans la suite de l’article.

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Retro Design Of Cassette

Design Miami/Basel 2013: Casting Light: From artificial storms to electronic innovations, five works that cleverly play with light

Design Miami/Basel 2013: Casting Light


It could be argued that it doesn’t matter what, or who, is in any room if the lighting isn’t right. The following pieces—seen among the other wares at Design Miami/Basel—emit, warp or interact with light in exotic ways. Each piece embeds functionality…

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Basketball stool + storage unit

Joong Han Lee deve aver pensato: la palla da basket è così comoda da usare come seduta…progettiamo una struttura che la supporta e facciamola diventare uno sgabello. Occhio zio che poi ti si ovalizza.

Basketball stool + storage unit

Basketball stool + storage unit