Focus sur les différents travaux de Erik Marinovich, un illustrateur et typographe basé à San Fransisco qui multiplie les créations typographique d’une beauté incroyable. Une large sélection de ses travaux et différentes séries en « Lettering Work » sont à découvrir en images dans la suite de l’article.
News: a fuel-efficient 3D-printed car is set to hit the road in two years, according to its US-based manufacturer RedEye On Demand.
The three-wheeled, two-passenger vehicle comprises 40 large 3D-printed thermoplastic parts, compared to the hundreds of parts found in a normal car.
The URBEE 2 is being developed by RedEye On Demand and its parent company, 3D printer maker Stratasys, in collaboration with KOR EcoLogic.
So far in its development, 3D printing has largely been used to produce unique or customisable items in single editions or small runs, but the arrival of the URBEE 2 suggests it could also be applied to mass production on a huge scale.
“A future where 3D printers build cars may not be far off after all,” said Jim Bartel, vice president of RedEye On Demand. “URBEE 2 shows the manufacturing world that anything really is possible. There are few design challenges additive manufacturing capabilities can’t solve.”
Once it’s road-ready, the designers plan to drive URBEE 2 from San Francisco to New York on just 45 litres (10 gallons) of biofuel such as ethanol.
The car is a follow-up to KOR EcoLogic’s 3D-printed URBEE prototype, which was launched in 2010.
We’ve been closely following the rise of 3D printing, reporting on plans to 3D-print a plastic house and a pen that sketches out 3D shapes in mid-air – see all 3D printing news.
Other cars we’ve published lately include a car with light-up wings by fashion designer Jeremy Scott and Audi’s shape-shifting OLED headlights – see all car design.
Here’s the press releases from RedEye On Demand:
At RedEye On Demand, 3D Printed Cars Edge Closer to Production
Road-ready URBEE 2 will set new precedent for building fuel-efficient vehicles
Minneapolis, March 7, 2013 – RedEye On Demand, a rapid prototyping and direct digital manufacturing service, and its parent company Stratasys, Ltd. (NASDAQ: SSYS) today announce a collaboration with KOR EcoLogic to produce URBEE 2, the first road-ready, fuel-efficient car built using 3D printing, or additive manufacturing, technologies. Targeted to hit the road in two years, URBEE 2 represents a significant milestone in the world of traditional assembly-line manufacturing.
“A future where 3D printers build cars may not be far off after all,” said Jim Bartel, Stratasys vice president of RedEye On Demand. “Jim Kor and his team at KOR EcoLogic had a vision for a more fuel-efficient car that would change how the world approaches manufacturing and today we’re achieving it. URBEE 2 shows the manufacturing world that anythingreally is possible. There are few design challenges additive manufacturing capabilities can’t solve.”
The KOR EcoLogic team will fully design URBEE 2 in CAD files, sending them to RedEye On Demand for building through Stratasys’ Fused Deposition Modeling (FDM) process. This unique process applies thermoplastics in layers from the bottom up, yielding parts that are durable, precise and repeatable. The finished two-passenger vehicle will comprise 40 large, intricate 3D-printed parts compared to hundreds of parts in the average car. The strong, lightweight vehicle will be designed to go 70 mph on the freeway, using a biofuel like 100 percent ethanol. The goal is for URBEE 2 to drive from San Francisco to New York City on only 10 gallons of fuel, setting a new world record.
“As a mechanical engineer, I’ve always believed we could use technology to help us solve some of society’s greatest challenges, like minimizing our dependence on oil and reducing ozone emissions. How cool is it that American manufacturing can evolve to tackle these challenges head-on? Our team is excited to launch URBEE 2, putting a next-generation vehicle on the road that will eventually be sold to the public,” said Jim Kor, president and senior designer for Winnipeg-based KOR EcoLogic.
URBEE 2, which stands for urban electric, follows in the tracks of its conceptual predecessor, Urbee 1. Produced in 2011 as a partnership between KOR EcoLogic, Stratasys and RedEye On Demand, Urbee 1 proved that 3D printing could in fact produce large, strong parts that meet accurate specifications of a car body. URBEE 2 will take the basic concepts of Urbee 1 to a higher level, including features like a fully functioning heater, windshield wipers and mirrors.
“With the Urbee 1 project, I learned that product design is nearly unencumbered by considerations on how parts can be made with digital manufacturing. That liberation is incredibly powerful and holds a lot of potential for the future of manufacturing,” said Kor.
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car on the way appeared first on Dezeen.
In this movie by Gwenael Lewis, Canadian lighting company Bocci’s creative director Omer Arbel describes how bubbles in the firm’s latest chandelier look like an “internal universe” when illuminated.
The film show glass blowers using tools to form spheres of molten glass that they mould together and reheat into a cohesive, cloud-like piece. “We began with the idea that we can manipulate the malleability of glass based on its temperature,” says Arbel.
Blowing air into the glowing glass creates bubbles and pockets depending on the temperature of different areas. “The air is pushed into the assembly and makes its way out through the path of least resistance, which is where the glass is hottest,” Arbel explains.
The light appears to be a smooth, shiny bobbled surface while off, but the air pockets become visible when it is turned on. “When lit, an internal universe comes alive,” Arbel says.
The 57 Series will be unveiled as the centrepiece for Bocci‘s stand at Euroluce trade fair in Milan during Salone Internazionale del Mobile next month. We’ve featured a few movies by Gwenael Lewis about the making of Bocci chandeliers, including the 28 series and 14 series lights.
See all our stories about designs by Bocci »
See all our stories about chandeliers »
See all our stories about lighting »
Here’s some more information from Bocci:
Bocci at Eurolace 2013
During this year’s Milan Saloni, Bocci will be exhibiting for the first time at Euroluce. In conjunction with the world’s largest furniture exhibition, Salone del Mobile, the biennial Euroluce trade fair serves as a major platform for luminaire manufactures with high design ambitions. At the centerpiece of their 280 square meter stand, Bocci will unveil a new flexible chandelier called 57 in a dramatic installation.
Designed by Omer Arbel, Bocci’s Creative Diretor, 57 is an exploration of a technique of making analogous to that used for producing open cell foam. The process involves trapping voids of air of different sizes and configurations within a glass matrix, and then injecting air into the composition, yielding a shape loosely referencing a rain cloud. These pockets of air remain invisible when the piece is off, but come alive to reveal an interior universe when the piece is turned on. As with all of Arbel’s recent body of work, it is the technique of making that yields 57’s form, which is unique in every iteration of the procedure.
A flexible suspension system allows easy composition: Pendants may be clustered such that they touch each other, referencing a cloudy sky (an especially poignant reference in the City of Vancouver, where the idea was born); they may also be composed as a field, such that each piece can be perceived individually, perhaps referencing a child’s drawing of a could (equally poignant but in a more universal manner). Most chandeliers are fundamentally vertical in composition, which is why they work best in rooms with high ceilings; in contrast, 57 is conceived as a layer or strata of light, or in other words, a horizontal chandelier.
The post 57 Series by Omer Arbel
for Bocci appeared first on Dezeen.
Le duo d’artistes originaire de Finlande Grönlund-Ninusen a imaginé cette sculpture cinétique « Unstable Matter ». Présentée jusqu’à récemment à Berlin au Esther Schipper, cette table mouvante entraine le mouvement de milliers de billes d’acier disposées sur sa surface. A découvrir en vidéo dans la suite.
Winner of this year’s 2013 Innovation Award at the Design Indaba Expo, the Stratflex line of seating introduces a novel concept into the world of flatpack furniture: curves. By embedding a grid of flexible polymer into its Finnish plywood surface, the Stratflex line is able to form more complex…
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News: Dutch design collective Droog will turn the notion of piracy in China on its head by unveiling its own copies of Chinese objects in a Guangzhou shopping centre next week.
While Chinese companies and the government strive to shed their copycat reputation, The New Original project suggests that the process of imitation can be more than mere replication when small adaptations are made to the knock-off goods, potentially driving innovation.
Exhibited items will include a traditional Chinese tea pot with a more robust handle and an inverted Chinese restaurant where a fish tank contains the dining area.
Top: Tea Pot by Richard Hutten
Above: Family Vase by Studio Droog
The show will feature 26 objects that were created in Shenzhen, which Droog calls “the epicentre of copycat culture”, as part of a workshop organised by the firm’s experimental arm Droog Lab. Participating designers designers included Studio Droog, Richard Hutten and the late Ed Annink of the Netherlands, plus Stanley Wong and Urbanus of China.
“We have reached a level of saturation in design and in the market, that it’s time to think more intelligently about what to do with the surplus, and use it in the design process. We should take better advantage of our collective intelligence,” says Droog co-founder and director Renny Ramakers. “Imitation can also be inspiration.”
Above: Fish Restaurant by Studio Droog
The New Original will be on show at Hi space, zhen Jia shopping mall, 4th floor, No. 228 Tianhe Road, Guangzhou, China, from 9 March to 9 April.
The show is organised in partnership with Today Art Museum of Beijing and OCT Art and Design Gallery of Shenzhen.
Other news about copying in design includes a building designed by Zaha Hadid for Beijing that’s been copied by a developer in Chongqing. At the Venice Architecture Biennale last year, Dezeen columnist Sam Jacob of FAT argued that copying is fundamental to how architecture develops.
See all our stories about copying in design »
See all our stories about design in China »
See all our stories about Droog »
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China appeared first on Dezeen.
Now 83 years old, Milton Glaser has become a name synonymous with meaningful graphic design. With a decades-long career under his belt that includes creating the iconic “I (Heart) NY” logo and many others, as well as co-founding Pushpin Studios and New York Magazine, the beloved designer is still…
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The animated animals in this app by illustrator Christoph Niemann react to prodding fingers (+ movie).
The Petting Zoo app was launched at the Design Indaba conference in Cape Town last week and features a menagerie of 21 interactive animal characters.
Users can swipe or tap the creatures to see how they react: push the rabbit and it stretches towards the edges of the screen or strike the teeth of a crocodile to play a tune.
Niemann describes the app as an “interactive picture book” and there are no words because “animals don’t speak English”.
It includes thousands of hand-drawn animation frames plus music and sound design by South African electronic musician Markus Wormstorm.
Christoph Niemann‘s work has appeared on the covers of The New Yorker, Newsweek and Wired, and his work for The Times Magazine is archived on his Abstract Sunday blog. After eleven years in New York he now lives in Berlin.
Dezeen were in Cape Town for the first leg of our Dezeen and MINI World Tour, where Design Indaba founder Ravi Naidoo took us on a tour of his hometown and explained why Africa today is a place of “renewal, regeneration and growth”. Look out for more movie reports from Cape Town in the coming days.
Petting Zoo is available at the iTunes store and is compatible with iPhone, iPad and iPod touch.
Credits
Concept and animations: Christoph Niemann
Developer: Jon Huang
Music and Sound Design: Markus Wormstorm
Executive Producer: Design Indaba
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Christoph Niemann appeared first on Dezeen.
Two-in-one dresses that transform with a single tug were shown as part of London-based fashion designer Hussein Chalayan’s Autumn Winter 2013 collection at Paris Fashion Week (+ slideshow).
Garments are tugged at the neckline to release poppers across the shoulders and reveal a layer of material tucked beneath.
This layer of fabric cascades down the body, hiding the previous top underneath and creating a new full-length outfit.
The garments designed for Chalayan‘s Black Line aim to combine daywear and evening apparel into a single garment.
The first outfit morphs from a dark dress, with thick straps and slits up the skirt, to a lighter evening look patterned with vertical gradients of beige for most of the length, fading into purples towards the hem.
A knee-length burgundy dress reveals a green and red printed scarf as it falls into a floor-length black gown. Another black evening dress, this time with asymmetrical straps, is unveiled from beneath a colourful, textured cocktail dress.
We interviewed Hussein Chalayan back in 2009 in conjunction with an exhibition of his work at London’s Design Museum, and featured his laser dresses for Swarovski as part of our Designed in Hackney showcase of talent from the east London borough.
Other transforming clothing on Dezeen includes Issey Miyake’s range that expand from two-dimensional geometric shapes. More stories from Paris Fashion Week include clothes made of bin liners by Gareth Pugh and Sylvio Giardina’s outfits constricted by fabric sausages.
See all our stories about designs by Hussein Chalayan »
See all the Autumn Winter 2013 collections on Dezeen »
See all our stories about fashion »
Read on for more information from the designer:
Chalayan Black Line Autumn Winter 2013 Rise
The Autumn Winter 2013 Chalayan collection was developed around the dichotomy between domestically earthbound environments: disembodiment and metamorphosis.
As has long been a part of the design language of the house, the AW13 Chalayan collection takes details from household items such as sofa covers, upholstery etc., and fuses them with garments that appear to be escaping like the spirit leaving itʼs body.
The collection consists of organza fitted dresses and tops with light layers of floating shells. The top layers are like the alter egos of the garments beneath, floating above them as if they are about to leave but never completely going, like a spirit reluctant to escape the body. Dresses in some cases look like they are being dragged up by one shoulder, as to be lifted to the heavens, leaving lace undergarments behind to simultaneously evoke a gap between comfortable domestic settings and a sense of escapism.
Body conscious dresses, jackets and coats appear as if they are about to burst open and produce new incarnations of themselves – representing an anticipation of change but remaining frozen in time.
Prints and Jacquards on dresses and trousers are inspired by the idea of the body becoming an electric current, in some cases they are floating away, at other times they are used in more structured tailoring fabrics which encapsulate the body.
The collection also features peeling wall prints in 3D textures on dresses and trousers to comment on an urban setting where information is beginning to escape, drawing parallels with garments caught in mid exodus as seen in rest of the collection.
Colors of the collection this season range from oxblood red and pinkberry to airforce blue and olive green.
The post Rise by Hussein
Chalayan appeared first on Dezeen.
Dezeen Watch Store: inspired by iconic Swiss railway clocks, the Mondaine Evo Quartz wristwatch is now available at Dezeen Watch Store.
The original clocks, designed by Zurich-born engineer Hans Hilfiker in 1944, can be seen at over 3000 railway stations across Switzerland. In 1986, Swiss watch brand Mondaine adapted the clock to a watch under official license from the Federal Swiss Railway.
The Evo Quartz is as close to the original clock design as it could be, featuring an easy-to-read face, thick black hands and the famous red ticker that resembles the shape of a railways guard’s signalling disc. The watch is available with a red strap and a small 26mm case, or a black strap and a 35mm case.
The post Mondaine Evo Quartz now in
at Dezeen Watch Store appeared first on Dezeen.
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