Focus sur le studio Forlane 6 qui réalise des sculptures très conceptuelles car elles ont la particularité d’être sous l’eau : des branches sous l’eau, des néons, des boules à facettes et autres figures en apesanteur. Un aperçu de leurs séries est à découvrir en images et sur Fubiz dans la suite.
Branche.
Bioluminescence.
Blow Dry.
Chaise.
Chemise.
Parasol.
Posidonia.
Take Off.
Milan 2014: Japanese studio h220430 has created a chair that looks like it is held in mid-air by balloons, which will go on show at Ventura Lambrate in Milan on Tuesday.
A follow-up to the Balloon Bench designed by h220430 in 2011, the Balloon Chair appears to by suspended beneath ten helium balloons.
The chair aims to recreate the feeling that Pascal, the protagonist of 1950s film Le Ballon Rouge, has when a cluster of balloons carried him over Paris, rescuing him from a group of bullies.
Whereas the bench was suspended from four anchor points in a ceiling to maintain the illusion of flight, the chair fixes to a wall.
The leather-covered seat is made from fibre-reinforced plastic, steel and urethane, while the balloons are made from fibre-reinforced plastic and cord, meaning they cannot be deflated.
The designers will be showing the Balloon Chair at Ventura Lambrate from 8 to 12 April, during Milan’s design week.
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to float above the ground appeared first on Dezeen.
L’illustrateur et architecte italien très talentueux Federico Babina revient avec une série de 33 portraits d’architectes célèbres dont les visages sont constitués par leurs styles d’architecture. Un série très inspirée et réussie à découvrir en intégralité sur Fubiz dans la suite de l’article.
News: Snøhetta has designed a visual identity for Oslo‘s bid to host the 2022 Winter Olympic and Paralympic Games.
Snøhetta, an architecture and design firm in Oslo and New York, developed a design that combines geometric shapes taken from the letter O and the number zero, as well as forms that recur in the number two and the letter S.
The rings of the Olympic logo informed the repetition of circles and the choice of colour palette used to render the simple forms.
“The identity of Oslo 2022’s visual language honours the inherent simplicity and openness in Nordic culture,” said the designers in a statement.
“By balancing playful graphics and strict geometry, the identity represents both the celebration of the Games and the solid planning of the Norwegian bid.”
As part of the development process, Snøhetta worked with the bid team to create an initial identity without a logo for the funding application to the Norwegian government. The designers then created the logo and typography, which also included creating architectural elements and signage for a presentation during the recent Sochi 2014 Winter Olympics.
The identity was finally applied to an application document submitted to the International Olympic Committee in March.
Some of the material created by the designers for the bid, including maps of the potential venues, was required to include content and colour coding determined by the IOC.
Branded material produced to demonstrate the application of the identity includes brochures, business cards, a website and a CD ROM, onto which the designers silkscreened the logo’s negative space in white, allowing the iridescent surface of the CDs to recreate the colours of the logo.
Oslo is competing with Kraków in Poland, Almaty in Kazakhstan, Lviv in Ukraine and the Chinese capital Beijing for the right to host the Games, with the winner due to be announced on 31 July 2015.
The sinuous Holmenkollen ski jump by JDS Architects would be one of the key venues for the Games should Oslo’s bid be successful.
Photography is by Erik Five Gunnerud.
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Oslo’s 2022 Winter Olympics bid appeared first on Dezeen.
L’agence Firebelly a reinventé l’identité visuelle, graphique, le site et le nom de la marque Elevarte (anciennement Pros Arts Studio). Avec un design très pop, coloré dans les tons rose et orange essentiellement, l’agence a offert à Elevarte une renaissance rafraîchissante et très jolie à voir.
Milan 2014: part bookend and part light source, the Ludovica by Italian design studio Zanocchi & Starke combines two pieces of desktop furniture in one minimal package (+ slideshow).
The Ludovica by Zanocchi & Starke comes in two parts. The first is an orange aluminium frame, which on its own serves as a colourful bookend.
One side of the frame slopes from top to bottom giving it a distinctive D-shape. The slope can be used as additional surface for stacking hardcovers.
The second section is a re-chargeable battery powered light encased inside an opaque white plastic box. “We had the inspiration when we lived in Rio de Janeiro,” explained the designers.
“We had an empty house with a library full of books. So we thought about something that could keep the books in order and at the same time ensure a more comfortable ambience.”
The shape of the light mimics that of the frame, allowing it to be wedged inside the aluminium element. Books can then be neatly arranged in the gap below. Alternatively, it can be used as a standalone light source with four hours worth of battery life.
To recharge the light a USB port is hidden on the underside of the opaque box, which can then be plugged into a computer via the matching orange cable.
Zanocchi & Starke will be showcasing the Ludovica at the Tortona Around Design exhibition, Via Savona 53, during the Salone Internazionale del Mobile in Milan next week.
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bookend and battery-powered lamp appeared first on Dezeen.
« Apollo Light » est une lampe qui a été conçue par Lucie Koldova et Dan Yeffet en 2013. La lampe réunit deux matières différentes dans une forme convexe : le verre et le marbre. Les faisceaux de lumières sortent de la tête en marbre. Une belle combinaison à découvrir dans la suite.
Milan 2014: New Zealand design studio Resident will launch its collection of lighting and furniture at the Edit by designjunction exhibition in Milan‘s fashion district on Tuesday (+ slideshow).
Resident‘s collection combines handcrafted techniques with innovative engineering methods, and uses carbon fibre, bronze and glass for the first time.
Architect Nat Cheshire has two pieces in the collection, the Parison and Foundry lamps. Parison is a mouth-blown pendant lamp made from a mixture of black and clear glass in an ombre effect.
The glass is blown into a digitally faceted cherry-wood mould, designed so that the blower’s breath expires just as the glass reaches the facets, resulting in soft indentations in the bottom of the lamp that create a dappled light effect.
Foundry is a floor lamp that features 22-millimetre aluminium bars that trace the outline of a 1.9-metre-high rectangle.
An LED light source projects light down from the top edge and the bottom is weighted with hand-cast bronze that bears the marks of its sand mould. Its top edge is hand polished to reflect the light from above.
Jamie McLellan, a former designer at Tom Dixon, has formed the Fibre Light from paper-thin carbon-fibre strips around a central acrylic diffuser.
The light comes in two forms, the bottle and the funnel, both of which are large and yet lightweight.
The clean-lined Scholar Table by Sydney-based designer Cameron Foggo is constructed from a solid-oak base with a veneer top and its frame packs flat for easy shipment.
Simon James, co-founder and creative director of Resident, has designed the Pick Up Sticks chair. The solid oak frame is available in a black stain or natural finish and the upholstered component is produced separately for shorter lead-times.
Also by Simon James, the Tangerine Stool is the latest addition to the Tangerine family. The seat-back detail takes into account the fact that stools are often viewed from behind and the robust steel crossbars make this product ideal for contract environments.
Resident will be showing the collection at Edit by designjunction, inside the eighteenth-century Palazzo Morando in Milan’s Brera district, open to the public from 9 to 13 April 2014.
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collection in Milan appeared first on Dezeen.
This 3D-printed chaise longue by architect, designer and MIT professor Neri Oxman features 44 different composite materials inside a wooden enclosure, creating a multi-coloured recliner.
The first of two designs to be released by Neri Oxman, Gemini Alpha features a series of synthetic rubber-like nodules in various shades of magenta, yellow and orange in a swooping wooden frame.
“Gemini is about the complex and contradictory relationship between twins,” explained Oxman.
“This is mirrored in the geometrical forms of the two-part chaise and the dualities that drive their formation, such as the combination of natural and synthetic materials.”
The inside of Gemini Alpha is made up of a 3D-printed skin that uses three synthetic rubber-like plastics, combined to create 44 different composites.
This inner skin was produced on Stratasys‘ new Objet400 3D printer, which allows materials and colours to be combined simultaneously.
Each of the materials has a different rigidity and colour, and is arranged to cushion the user. The choice of shapes is also informed by their noise-cancelling properties.
“The chaise is designed to use curved surfaces that tend to reflect the sound inwards,” said Oxman. “The surface structure scatters the sound and reflects it into the 3D-printed skin that absorbs that sound, and creates a quiet and calm environment.”
The outer layer is made from a solid wood shell milled using a CNC machine at Le Laboratoire art and design centre in Paris. It follows the contours of the body, with a deep seat, back rest, and a curving head piece that immerses the user and helps block out sound.
Gemini Alpha was designed in collaboration with W. Craig Carter, professor at MIT‘s Department of Materials Science and Engineering.
It is currently on display at Le Laboratoire and the second piece, Gemini Beta, will be unveiled in September.
Photography is by Michel Figuet.
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forms a multi-coloured cocoon appeared first on Dezeen.
For years Eric Trine and Will Bryant have been both friends and collaborators with Poketo’s Ted Vadakan and Angie Myung. Last year the first installment of Alley-Oop filled…
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