« Wearable Foods » est le nom de la série d’œuvres que l’artiste coréenne Yeonju Sung compose avec des créations de vêtements utilisant de la nourriture. En composant différentes pièces à l’aide d’aliments tels que de la tomate ou des champignons, cette artiste nous propose de véritables pièces d’art visuellement bluffantes.
Urs Fischer est un artiste suisse de Zurich qui expose actuellement au Los Angeles’ Museum of Contemporary Art sa première rétrospective avec des œuvres magiques dont l’incroyable « Horses Dream of Horses » représentant 1500 gouttes de pluie géantes réalisées en plâtre et résine. A découvrir dans la suite.
Milan 2013: Zaha Hadid folded a round sheet of plastic to create this chair for Italian brand Sawaya & Moroni (+ slideshow).
The single indigo-coloured sheet has been creased along two lines so the edges almost meet at the back, then bent in the middle to create the seat and backrest.
Edges that touch the floor have been levelled to stabilise the chair.
Scored bands follow the shape of the seat and curve around droplet shaped holes in each side.
The chair was unveiled at the Sawaya & Moroni showroom in Milan earlier this month. Zaha Hadid created a zig-zagging chair for the brand in 2011.
She also presented twisting auditorium seats, monochrome pendant lamps, sculptural outdoor benches and a sofa based on rock formations during the city’s design week this year.
Hadid was crowned businesswoman of the year at the Veuve Clicquot awards in London earlier this week.
See more architecture and design by Zaha Hadid »
See more chair designs »
See all of our Milan 2013 coverage »
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for Sawaya & Moroni appeared first on Dezeen.
Jusqu’à la fin des votes pour les Fubiz Awards 2013 prévu le 14 mai 2013 minuit, nous vous proposons de mettre en avant les nominés de chacune des 8 catégories présentées. Découvrez dans la suite les 8 différents nominés de la catégorie Music Video en images, en partenariat avec HTC.
Kanye West & Jay-Z – No Church in The Wild
Flying Lotus – Until The Quiet Comes
Milan 2013: designer Dennis Parren has developed a light bulb that casts coloured shadows.
The CMYK bulb by Dennis Parren combines a white main light source with coloured LEDs in red, green and blue to cast shadows in cyan, magenta and yellow.
The design is a commercial development of the one-off CMYK lamps that Parren developed as part of his graduation project at Design Academy Eindhoven in 2011.
“It is easier to produce and you find yourself more in [the] mainstream of lighting,” says Parren of the new design. “That makes it many times more accessible.” He expects the bulb to be priced around €95 when it appears in shops.
The prototype was showcased at Spazio Rossana Orlandi in Milan this month, together with a shade Parren developed especially to complement the bulb.
The faceted Diamond shade is made of paper covered in tiny pin-pricks to scatter coloured dots of light onto surrounding surfaces.
“The shade derived from a previous project, the RGB Galaxy,” he says. “I chose this shape because the light sparkles through the little holes like a real diamond.”
Other lighting on show at Spazio Rossana Orlandi included a wind-up folding lamp by Nika Zupanc.
See all our stories about lighting »
See all our stories about design at Milan 2013 »
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Dennis Parren appeared first on Dezeen.
Découverte de la vidéo intitulée « The Ice Man » et pensée par Alex et Julia Horner. Montrant l’artiste Trevor Pearson réaliser une sculpture de glace magnifique, ces œuvres sont ensuite mises à la disposition de passants dans la rue, leur proposant de casser avec un marteau les créations. A découvrir dans la suite.
French architect Jean-Marie Massaud has collaborated with auto maker Toyota to create an “anti-crisis” concept car with a retractable windscreen, plastic bodywork and a bamboo bonnet (+ slideshow).
Massaud and Toyota designed the electric car to tackle current economical and environmental crises by using cheap, lightweight materials that reduce the vehicle’s energy consumption.
A tubular aluminium structure would support recyclable polypropelene body panels, which could be customised with different textures, patterns and colours. Strips of bamboo that wrap around the dashboard would extend out to form the bonnet and also cover the remaining horizontal surfaces, including the floor and roof.
All the windows, including the windscreen, would be retractable so passengers could feel the breeze from every angle. The rear bench could fold down and tuck under the front seat when not needed, and would be removable for use outside the vehicle.
Luggage could be stored on the roof under a fold-out neoprene cover to create more space inside. Alternatively, the boot could fold out to make room for larger goods.
A screen above the steering wheel would display vehicle speed, battery charge, journey information and navigation instructions provided via a smartphone, which could be mounted below and used to control music and temperature.
Heating and air conditioning would be delivered by a low-energy air pump and electric seat heaters to minimise power consumption. An in-wheel motor system means the car would be operable in two or four-wheel drive.
Other recent concept car include Ross Lovegrove’s blue vehicle for Renault with a glass roof covered in LED patterns and Pininfarina’s two-seater model without a windshield. See more car design »
Read on for more information from Toyota:
Toyota presents the ME.WE Concept
Working with Toyota since 2011, Massaud has sought to create an “anti-crisis” car that addresses contemporary human, economic and environmental challenges, bringing his independent vision and experience from outside the motor industry.
The thinking behind the concept
Massaud and Toyota defined three primary aims for the concept: –
Pertinence – their vision for the car is passionate but considered. The concept should be adaptable to a wide variety of lifestyles as well as displaying high quality and innovation.
Synthesis – a move away from motor industry tradition to remove excess and suggest a new way of responding to people’s behaviour and expectations. The concept should propose an alternative synthesis based on personal choices about vehicle architecture, lower running costs and the way the vehicle will be used.
Modernity – challenge conventions and seek change in designing a car that goes beyond just looking good through the experience it offers, its intelligent solutions and its ability to exceed the needs of the owner. This should be a car that reflects the values of forward-thinking people rather than simply their social status.
ED2 and Massaud combined their expertise to produce a car that reflects a quest for change in personal mobility. While cars have increasingly become subject to restrictions, they have put road users – drivers and pedestrians – at the heart of their thinking. The focus is on the desire for freedom, pleasure, emotion and the ability to travel free from constraints, while at the same time addressing people’s sense of personal responsibility and commitment to good citizenship.
The result is car that takes a modern, global view of travel and forms part of a wider view on how to adapt to the environmental challenges that will shape the future of personal mobility. It is a no-extras package, conceived as an “anti-excess” vehicle. In short, the Toyota ME.WE represents the transition from the culture of “more” to the culture of “better”.
The vehicle
ME.WE seeks to resolve a number of real-life contradictions, not through reinvention of what a car is, but by taking a different approach that is simpler, more appropriate and realistic – an alternative to cars that are about “passion and status”. The goal was do more and create better while using less. By reducing the pool of resources and constraints, it was possible to increase capability, quality and
pleasure.
Light and resilient: ME.WE has a tubular aluminium structure, on to which light and hard-wearing polypropylene panels are fitted.
Individual and standard: the moulded panels are made using a cost-efficient standard production system, but they are easy to personalise.
Freedom and responsibility: ME.WE is a pick-up, convertible, off-roader and small city car in one. It appeals to a wide range of users, and has a small eco-footprint thanks to its light weight and the materials used in its construction.
ME and WE: the concept’s name expresses its simultaneous concern for personal well-being (ME) and that of others (WE). ME.WE is electric-powered, using the same in-wheel motors as the Toyota i-ROAD, with batteries located under the floor, as in the iQ EV. With none of the traditional packaging restraints associated with conventional powertrains, the entire interior could be devoted to the vehicle’s occupants and luggage.
The lightweight construction using aluminium and polypropylene panels helps keep the car’s weight down to a target 750kg, about 20 per cent less than a conventional steel-built supermini. The body panels, which are 100 per cent recyclable, weight just 14kg. Bamboo is used in the construction of the floor and for the cabin’s horizontal surfaces, chosen both for being a renewable resource and aesthetically pleasing. ME.WE is easy to keep clean with a simple wash, inside and out.
ME.WE is an intelligent response to the ecological threats posed by mass production and the increasing number of cars on the world’s roads, as it is made from materials that help reduce the energy it consumes and the CO2 and harmful emissions it produces.
The simplicity of its design is matched by it ease of use. The in-wheel motor system means it can be operated in two or four-wheel drive, allowing it to tackle rougher terrain than a traditional car, and without the weight penalty of a 4×4 transmission system.
In the cabin priority is given to driver and passengers, so luggage can be carried on the roof beneath a fold-out, weatherproof neoprene cover. However, the rear luggage space can be extended into a platform like that found in a pick-up. The rear bench seat is mounted on floor rails and when not in use can be folded and stored beneath the front seat. It can also be removed altogether and even used for ad-hoc picnic seating.
The simplicity of the design is also evident in the instrumentation, which comprises a single screen above the steering wheel which displays vehicle speed, battery charge, journey information and navigation instructions, delivered via a smartphone. The phone itself is mounted below the screen so the driver can personalise the cabin environment with music and other apps, as well as controlling on-board temperature.
The heating and air conditioning are delivered by a low-energy air pump and electric seat heaters to minimise power consumption. And to achieve a cabriolet-like open air feel, all the windows can be opened, even the windscreen.
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for Toyota appeared first on Dezeen.
News: researchers at the University of St Andrews in Scotland have rearranged the letters on a split-screen keyboard to almost double users’ typing speed on a tablet.
The KALQ keyboard for touchscreen devices rejects the usual QWERTY layout in favour of placing vowels on the right side of the keyboard and most consonants and most first letters of words on the left.
The key to optimising a keyboard for two thumbs is to minimise long typing sequences that only involve a single thumb, say the researchers. Experienced KALQ users learn to keep both digits moving so that while one is tapping a key, the other is moving towards its next target.
After only 10 hours of training with the KALQ keyboard, researchers found that testers were able to type 37 words a minute compared with the average 20 words a minute on a QWERTY touchscreen device.
Project leader Dr Per Ola Kristensson, a lecturer in human computer interaction at St Andrews, said: “The legacy of QWERTY has trapped users with suboptimal text entry interfaces on mobile devices.
“However, before abandoning QWERTY, users rightfully demand a compelling alternative. We believe KALQ provides a large enough performance improvement to incentivise users to switch and benefit from faster and more comfortable typing.”
The St Andrews team plans to release KALQ as a free app for Android-based smartphones and tablets next month, and users will be encouraged to tweak the layout of the patent-free keyboard however they like.
Earlier this year, BlackBerry’s head of design Todd Wood told Dezeen that the smartphone maker’s latest touchscreen keyboard will eradicate the “embarrassing” mistakes common on rival devices – see all technology news on Dezeen.
We recently reported on a transparent computer that allows users to reach inside the screen and manipulate content with their hands – see all computer design.
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increase tablet typing speed appeared first on Dezeen.
News: UK government ministers are to scrap the draft design and technology syllabus for secondary schools amid claims by industry figures including inventor James Dyson (pictured) that the curriculum had been “diluted” with skills such as cooking and gardening.
The Department for Education will now review subject requirements after admitting to the Telegraph that the curriculum, which was drawn up just two months ago, had been “dumbed down”.
The document was criticised after it emerged that pupils aged between five and 14 would receive lessons in sewing and knitting, bicycle maintenance and cultivating plants for “decorative displays”.
Writing in The Times in February, James Dyson, inventor of the Dyson bagless vacuum cleaner, said the academic rigour demanded in other core subjects was missing in the government’s “diluted” design and technology draft syllabus.
“Life skills such as how to grill a tomato and what to do if your bike chain falls off take pride of place,” he said. “Gardening has become a key component in a subject that should contextualise science and maths in a practical format.”
Pupils should learn to invent as well as mend and maintain, he added. “If the British automotive industry is to continue its renaissance it needs young engineers capable of questioning and improving rather than just fixing.”
During consultations, which ended on 16 April, Britain’s Design Council urged people to campaign against the “potentially retrograde proposal for design in our schools”, while the Design & Technology Association, a body that campaigns for design and technology teaching, said the draft syllabus would “seriously undermine 20 years of development in the subject”.
A government source yesterday told the Telegraph the revised curriculum would be geared towards helping pupils towards jobs in manufacturing, engineering and computer-aided design. “We have had a lot of good ideas on how to make the D&T curriculum more rigorous and more in line with what industry needs,” the source said.
The move comes just two months after the government abandoned controversial plans that would have removed design and other creative subjects from the compulsory school curriculum after age 14, proposals that were fought by key industry figures such as Apple’s Jonathan Ive and architect Norman Foster as part of the #IncludeDesign campaign.
D&AD president Neville Brody had described the government’s plans to “demolish” creative education as “insanity”, telling Dezeen: “The creative industries need high-quality creative graduates. If we’re not getting the graduates, we’re not going to sustain the industry.”
See all news about design and education.
Photograph by Eva Rinaldi.
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curriculum scrapped by UK ministers appeared first on Dezeen.
UK studio Universal Everything motion-captured a dancer to make this animation, which is projected onto the world’s highest-resolution screen (+ movie).
“We choreographed a contemporary dancer in a motion capture studio,” Universal Everything founder Matt Pyke told Dezeen. “We then transformed the motion capture data into a digital sculpture, formed from the trails of human movement.”
The hundreds of white light points that form the dancing figure become strands that glow yellow, then red, before solidifying into blue as the dancer moves across the screen.
Universal Everything produced animations at a highly detailed 16K resolution for the 25-metre-wide by four-metre-high screen in the Hyundai Vision Hall, located at the South Korean motor group’s Seoul campus.
“The film was produced at such a high resolution to achieve a life-sized dancer moving through the space,” said Pyke.
The studio and various collaborators created 18 short films for the hall to turn it into “a space that inspires leaders, engineers, scientists, workers and designers to learn, rethink, and collaborate.”
More digital installations on Dezeen include Arik Levy’s interactive screen that uses visitors’ movements to mutate computer-generated crystals and a wall of digital animals that distract children on their way to surgery.
See all our stories about installations »
Universal Everything sent us the following information:
Hyundai Vision Hall
Euisun Chung, Vice Chairman of the Hyundai Motor Group (HMG), has a vision for the company that he leads. His aim is to align HMG with the best contemporary art, sculpture and digital design in the world. Artistic invention and innovation will be at the heart of both Hyundai and Kia’s future vision.
“The Vision Hall at Hyundai Motor Group’s Mabuk Campus is a symbolic space for presenting employees with Hyundai Motor Group’s values, providing them with a sense of pride, and sharing with them its dreams. The media wall, the central focus of the Hall, screens three video artworks that convey the vision and core values of the group.
An interactive artwork ‘Who Am We’ by world-renowned artist Do-Ho Suh was designed to develop pride and solidarity among the group’s employees and was produced through the participation of employees throughout the world. A metaphorical film series ‘Mobius Loop’ by Universal Everything expresses the group’s vision, management philosophy and core values. The third film, ‘Documentary’ depicts the last 10 years of Hyundai Motor Group’s history.
The Vision Hall – through continuous development of diverse creative content in collaboration with the group’s employees is a digital media archive that conveys and communicates the vision of Hyundai Motor Group” – Euisun Chung
To date HMG have collaborated with leading exponent and practitioner of Korean art Do Ho Suh, architect Elho Suh, and Peter Schreyer – Chief Design Officer for KIA, one of the world’s leading automotive designers (and a fine artist in his own right). The latest talent to be invited on-board are Universal Everything (UE) – an internationally acclaimed, UK based multidisciplinary studio working at the crossover of digital art and design.
The HMG Vision Hall
The Vision Hall is the first physical manifestation of E.S. Chung’s thinking. A contemplative and Zen like space at the entrance to Hyundai’s Mabuk University Campus – Elho Suh’s minimalist masterpiece that sits high in the verdant hills outside Seoul. Measuring around 900sqm the Hall is stripped of superfluous decoration, allowing visitors to appreciate its rich palette of materials and more importantly to concentrate the eye on its focal point and crowning glory – a 25m wide, 4m tall, 44k resolution screen seamlessly constructed from 720 micro tiles.
This is a space that will greet the majority of HMG’s 80,000 worldwide employees over the coming months – a space that will allow leaders, engineers, scientists, workers and designers alike to learn, rethink, collaborate and be inspired.
Universal Everything’s brief
Universal Everything were commissioned to fill the world’s highest resolution screen with content that would simply ‘inspire’. Such creative freedom is indeed rare. Matt Pyke, UE’s founder and Creative Director, was specifically asked not to include any brand related slogans or logos – furthermore he was requested not to feature Hyundai or Kia cars currently in production.
The sole ‘commercial’ request was to nod at the ‘mobius loop’ concept that underpins HMG’s whole ethos and production process. This loop symbolizes the infinite cycle of resource circulation and serves to connect all the innovative, creative activities and events of the Group into an organic whole. As an illustration HMG make steel to make cars, and then the cars are recycled to make more steel.
“The sheer scale of the vision hall, and the freedom that the HMG granted us gave us the power to create powerful, immersive audio-visual experiences which had never been seen or heard before. The commission allowed us to push our ambitions, transforming familiar subjects and materials into hyper real beautiful abstract expressions” – Matt Pyke
The intention is to allow Hyundai and KIA’s staff to digest the work openly and personally – to allow a deeper connection and to arrive at their own interpretations of the artworks – possibly seeing the familiar in the unfamiliar. The shear scale and resolution of the onscreen content combined with an immersive sound system would instill HMG’s staff with a sense of shared pride and solidarity – making them realize that they are indeed an integral part of the ‘bigger picture’.
Why ask UE?
UE were asked on board at the inception of the Vision Hall project as HMG’s ‘digital artists in residence’. The invitation came on the back of artistically pioneering and challenging work created for (amongst others) La Gaite Lyrique – Paris’ brand new Digital Art Museum, Deutsche Bank’s Hong Kong HQ and Coldplay’s sell out world tour of 2012.
UE’s response
The project has been the studio’s most ambitious project to date – requiring the core staff of 4 to swell to over 30 for the duration of the project. Matt Pyke and long term collaborator, director Dylan Griffith’s response to the challenging brief has yielded 18 films in total, ranging in duration from 00’40” to 02’45”. Created exclusively for their architectural context, the films allow the giant screen to become a ‘stage’ – a performance space that is often filled with life size humans and abstracted production processes.
The films mix a myriad of animation styles and live action – building upon UE’s trademark ethos of ‘maximum innovation’. Abstraction is pitted against familiarity to engage all types of viewer – whilst themes such as nature, technology and mans relationship with them feature heavily. All areas of HMG’s activity are explored with hyper real vision and audio – from steel creation to architecture, construction, future technologies, the corporation’s diverse multi-talented workforce to car design and production.
GGI studios in London, sound engineers in Germany and the UK, Korean programmers, an Italian Director of Photography and Film Directors from Amsterdam and Hong Kong were choreographed from UE’s home base of Sheffield, UK.
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by Universal Everything appeared first on Dezeen.
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