L’impression 3D est une des grandes tendances de l’année, elle ne cesse de s’améliorer et créer des produits impressionnants et de plus en plus étonnants. Joshua Harker a travaillé sur une nouvelle technologie d’impression 3D qui repousse les limites de la qualité, et créer des petits bouquets comprenant 10 à 12 pouces de fleurs.
L’artiste peintre Emily Ferretti nous fait découvrir cette série d’oeuvres d’art dans toutes sortes de bleus différents. Les compositions, figuratives ou abstraites représentent le plus souvent des feuillages, bouquets, feuilles ou fleurs dans de très belles harmonies colorées. De magnifiques créations à découvrir ci-dessous.
Dans l’église lilloise Sainte Marie Madeleine, le studio de design hollandais Daan Roosegaarde a fait une installation de lumières en forme de dôme composé de centaines de lumières-lotus métalliques sensibles aux mouvements corporels. Une sculpture interactive et organique à découvrir dans la suite.
La récente campagne Sony Bravia a été réalisée par McCann Worldwide dans des paysages magnifiques : un volcan au Costa Rica, des habitants du village, une quantité astronomique de pétales de fleurs, quelques effets spéciaux, résultat : une superbe campagne à découvrir dans l’article ci-dessous.
In today’s culture, sending flowers has become a monotonous act that has lost some of its meaning; another chore to cross off the to-do list made easy through various methods: online sites, Whole Foods, even the bodega across the street. Trying to re-inject…
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Huge satin flowers conceal the faces of models walking in Central Saint Martins graduate Ondrej Adamek’s London Fashion Week debut.
Adamek created the flower shapes by gathering fabric at a central point, from which loose pleats emanated to the rounded hems.
These sections of the garments were positioned to cover the front of their wearer’s heads, forming unusual silhouettes.
Petal motifs were also used on shoulder pieces that stuck upward from sleeves and for the bottom of ankle-length dresses.
The collection contained blue and pink outfits, made entirely from satin.
Thick strip of darker and lighter fabrics were mixed to create the gowns, tops and skirts.
Adamek’s eight-piece collection was designed while studying on Central Saint Martins‘ MA Fashion course.
He was one of two designers awarded the L’Oréal Professional Creative Award at the London institution’s show last Friday during London Fashion Week, which concluded yesterday.
The award was judged by British fashion designer Christopher Kane, whose Autumn Winter 2014 collection featuring dresses created from overlapping layers of outlined fabric was also presented during the event.
The post Giant flowers obscure models in Ondrej
Adamek’s graduate fashion collection appeared first on Dezeen.
Microscopic views of flower petals informed the rippled timber facade of this flower kiosk in west London by British firm Buchanan Partnership (+ slideshow).
Buchanan Partnership used a combination of digital and handmade fabrication techniques to build the St Helen’s Gardens flower stall in Ladbroke Grove.
Horizontal timber slats were CNC-cut with wavy profiles to create a rippling effect around the facade. These were then layered up and bolted to a galvanised steel structure that sits on the lozenge-shaped concrete base.
The studio wanted to look beyond conventional floral motifs for the small commission. “We took inspiration from electron scanning microscopic images of flower petals, which reveal tiny three-dimensional ridge patterns across the petal surface,” said architect Kyle Buchanan.
The kiosk doors rotate open during the day, creating space to prepare and wrap the flowers on the Accoya timber countertop.
Stainless steel letters spelling out “THE KIOSK” sit on the roof of the structure.
The flowers are displayed on shelves that are placed on the surrounding pavement, and are stored and locked in the kiosk at night.
This project came about as part of a change of use application for a neighbouring shop, which had previously been a florist. Initially turned down by planners, the project won approval after gaining huge local support.
In researching the proposal, the practice looked at Thomas Heatherwick’s Paperhouse, a set of newspaper kiosks also in the Royal Borough of Kensington and Chelsea, CZWG’s nearby public lavatories at Westbourne Grove as well as other kiosks throughout London, says Buchanan.
“London has an interesting history of kiosk buildings, including the ornate ironwork public toilet on Foley Street and the police station in Trafalgar Square, which is in the base of a lamp post and was the smallest police station in the world when it was manned,” he said.
The project is one of the first completed by the practice’s recently opened London office.
Photography is by Charles Hosea.
Here’s a project description from Buchanan Partnership:
Flower Kiosk
A new permanent flower kiosk in Ladbroke Grove, built using digital and handcrafted fabrication techniques.
This project, for a permanent flower kiosk in Ladbroke Grove, came about as part of a change of use application for the neighbouring retail unit, which had previously been used as a florist.
The concept for the rippling CNC-cut timber layers of the facade resulted from an ambition to reinvent the conventional idea of a floral motif.
We took inspiration from electron scanning microscopic images of flower petals, which reveal tiny three-dimensional ridge patterns across the petal surface. These ridges intensify the colour of the flower and act as a graspable surface for bees and other insects.
Using both digital and traditional fabrication techniques, the ridges are referenced in the external form of the kiosk, so that the nano-condition of the petal is translated into a contemporary interpretation of the floral motif in the architecture.
The lozenge shape of the kiosk rotates to be open during the day, creating space to prepare and wrap the flowers. The flowers are displayed on shelves that are placed on the surrounding pavement, and are stored and locked in the kiosk at night.
Contract value: £47,000
Location: St Helen’s Gardens, London
Client: Mountgrange Heritage and The Cundall Partnership
Fabrication: William Hardie Design
Planning Consultant: Ian Fergusson of Turley Associates
Structural Engineers: Tall Engineers
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flower kiosk by Buchanan Partnership appeared first on Dezeen.
British digital designer Daniel Brown has created a new series of his animated flowers that “grow” according to computer algorithms (+ slideshow).
Daniel Brown‘s Darwin animation is derived from the shapes and textures of exhibits at the D’Arcy Thompson Zoology Museum in Dundee.
It shows a three-dimensional image of flowers that appear to grow in a generative pattern, creating unique blooms derived from colours, patterns and forms found in the museum’s collection of historical taxidermy and plant samples.
“The shape of the stems and flowers are generated using splines and 3D surfaces that follow mathematical equations,” Brown told Dezeen. “A second formula generates petal surfaces by taking segments of images of the museum exhibits, and arranges these to create seamless larger textures.”
He added that the two-stage process means every bloom will be unique: “The combination of the two [formulas] ensures that no two generated flowers will ever look quite the same.”
Various plants and animals from the museum’s collection informed the shape the digital plants grow into, while the surfaces of petals and leaves are decorated with patterns influenced by textures taken from the same sources. “For example, the colourful bulbous stamens that appear on some plants take their form from birds in the collection, and their rich texture comes from their plumage,” Brown explained.
Brown employed techniques similar to those used in the production of computer games and cinematic special effects to develop an animation specially for the museum that pans around the flowers as they evolve.
The visuals are designed to be suitable for vertical or horizontal projection so the installation can be presented in a variety of different spaces throughout the museum, or even tour other galleries.
Over the past ten years, Brown has been developing algorithms based on mathematical principles which can generate realistic-looking flowers that never repeat the same characteristics.
The original flower series called On Growth and Form was named after a book written in 1917 by Sir D’Arcy Wentworth Thompson, the biologist and professor after whom the museum at the University of Dundee is named.
Brown said the processes explored by Thompson in the book influenced his investigations into the relationship between nature and mathematics. “My work essentially uses the same thinking but in a practical context rather than theoretical: using seemingly ‘cold’ mathematical equations to create hyper-real organic behaviour,” he explained.
The museum commissioned the installation as part of a collection of new works it is compiling called the Renew Project, which is inspired by D’Arcy Thompson’s legacy and influence on the artistic world.
Brown has previously produced animations for installations at the Design Museum and Victoria & Albert museum in London, as well as working on interactive interfaces, websites and projects for architecture and fashion. His website for fashion brand Mulberry generated unique flowers that users could send to their loved one on Valentine’s Day.
The designer sent us the following project description:
Darwin – a new artwork by Daniel Brown for the D’Arcy Thompson Zoology Museum
“The harmony of the world is made manifest in Form and Number and the heart and soul and all the poetry of Natural Philosophy are embodied in the concept of mathematical beauty” – Sir D’Arcy Wentworth Thompson, from On Growth and Form.
London-based designer and digital artist Daniel Brown is pleased to announce the recent completion of a specially created artwork for the D’Arcy Thompson Zoology Museum.
Commissioned by the University of Dundee Museum Services with grant funding from the Art Fund, the work uses shapes and textures taken from and inspired by exhibits in the museum. The work is part of the museum’s ‘Renew’ programme
Over the past ten years Brown has become known for creating his ‘Flowers’ series – ornate artworks that use complex mathematics to generate never repeating floral animations. The series was originally entitled ‘On Growth and Form’ in homage to D’Arcy Thompson’s pioneering book and Brown states ‘it was an honour and the ultimate privilege to create an artwork for the museum given the huge influence Thompson’s book has had on my work’.
The piece is the first in a new phase of the series, utilising cutting edge 3D technology that is more commonly used for computer games and cinema features, creating realistic-looking flowers that grow on screen like time-lapse documentary photography. It is designed to work both in portrait and landscape arrangement to allow for large format projection and flat-screen presentation in different spaces.
Previous pieces from the series have been exhibited at the London Design Museum and a three-story-high projected version was commissioned by the Victoria & Albert as the entrance feature for their Decode – Digital Art Sensations blockbuster show that took place from December 2009 to April 2010.
Brown was voted Designer of the Year in 2004 – the year after Apple design guru Jonathan Ive was also awarded this major national accolade. Ive commented that… “Daniel Brown’s work changes the way we look at and engage with digital imagery. It is technically innovative and emotionally engaging, but also gives us an extraordinary amount of freedom in the way we experience it”.
The post Digital flower animation by Daniel Brown
based on exhibits at Dundee museum appeared first on Dezeen.
This vase by London designer Lambert Rainville supports flowers in a free-standing arrangement by holding their stems halfway up.
The prototype Crown Vase comprises a clear plastic ring of triangular funnels that sits halfway up the stems of flowers with sturdy stalks.
Each stem sits at an angle, balanced out by those leaning the other way on the opposite side of the circle.
“The flowers are treated as part of the vase and not just the content,” said Lambert Rainville. “Making the most of the structural capabilities of the stems reveals the complete beauty of flowers.”
The arrangement can be placed on a dish of water for fresh cut flowers or straight onto a table top for dried flowers.
Rainville was born in Montreal and lives in London, where he is studying for an MA in Design Products at the Royal College of Art.
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freestanding flower arrangements appeared first on Dezeen.
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