Google a dévoilé aujourd’hui une nouvelle vidéo de présentation de ses lunettes intelligentes. Proposant une multitude de possibilités qui font rêver comme visioconférence, GPS, recherches internet, traduction ou enregistrement vidéo. Ce projet incroyable Google Glass annoncé depuis avril 2012 est à découvrir en vidéo.
Focus sur l’artiste Marta Klonowska qui compose des œuvres avec des morceaux de verre de différentes couleurs. Ayant pu exposer récemment au European Glass Context 2012, ses sculptures d’animaux sont absolument magnifiques et impressionnantes. L’ensemble est à découvrir dans la suite de l’article.
Product news: French designer Noé Duchaufour-Lawrance has created a glass table with three circular tops for French brand Ligne Roset.
Aoyama, which translates as “blue mountain”, is named after a district of Tokyo and was launched at trade fair imm cologne last month.
The piece features three circular tabletops that overlap to form a single surface, with each top standing on slim rectangular legs. It’s made from slabs of blue-tinted annealed glass that are glued together.
Other recent projects by Noé Duchaufour-Lawrance include the wooden slatted Market chair for Petite Friture and the leaf-like Naturoscopie II lights.
Other glass tables we’ve featured on Dezeen include the tessellated Isom tables by Sebastian Scherer and the almost invisible Luminous table by Tokujin Yoshioka.
imm cologne took place from 14 to 20 January. Other products launched at the fair included an asymmetrical desk by Thibault Desombre and the Ficelle chair by Osko+Deichmann that was inspired by cooked spaghetti.
See more stories about at imm cologne »
See more products by Ligne Roset »
See more stories about Noé Duchaufour-Lawrance »
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for Ligne Roset appeared first on Dezeen.
Stockholm 2013: Oslo designers StokkeAustad and Andreas Engesvik will present blown-glass trees as part of Stockholm Design Week, which begins on Monday.
The Woods comprises clusters of glass bubbles with differing proportions and coloured tints, supported on solid glass stems.
“The inspiration was found in the forests and the lights of the North,” says Engesvik. “A tree changing colours and transparency through the seasons is a fascinating process which was captured in this glass object.”
Each set comprises seven trees in two clusters. One represents spring with a mixture of greens and the other represents autumn with a combination of pinks, oranges and greys.
They’ll be on show at Designgalleriet, Odengatan 21, 114 24 Stockholm, from 5 to 9 February.
Andreas Engesvik was co-founder of Norway Says and founded his own studio in Oslo in 2009. His previous work includes coloured screens in collaboration with Norwegian designer Daniel Rybakken and Bunad Blankets inspired by the textiles of Norwegian folk costumes.
We’ve also previously featured a range of basic kitchen utensils by StokkeAustad and their cantilevered bench with a concrete base.
Stockholm Design Week takes place from 4 to 10 February and you can see all our stories about the event here.
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and Andreas Engesvik appeared first on Dezeen.
Maison&Objet 2013: Dutch studio Scholten & Baijings has created a range of glassware for Danish brand Hay featuring swatches of colour, graduated tints and grid lines (+ slideshow).
The Colour Glass collection was launched as part of Hay’s new collection at Maison&Objet in Paris earlier this week. It includes high and low water glasses, a red wine glass, a white wine glass, a champagne glass and a carafe.
The glasses and carafe will be available in three different designs: with yellow or blue fading from the top, or a golden dot at the bottom of the vessels. The red wine glass comes with a pink square on one side, the white wine glass has black grid lines and the champagne glass features golden grid lines.
Pieces are made of crystal glass and will be available from May.
Scholten & Baijings is based in Amsterdam and is known for its textiles and homeware featuring carefully selected colours and geometric grids. See their tableware set based on the archives of hand-painted porcelain company 1616 Arita Japan in our earlier story.
Based in Copenhagen, Hay produce furniture and homeware including a table with an upside-down underframe and colourful accordion-pleated document wallets. See all our stories about Hay »
Maison&Objet homeware and gift fair took place from 18 to 22 January. Other products launched at the show include a range of ice-cream coloured poufs and rugs by Patricia Urquiola and furniture inspired by camping from French brand Colonel. See all our stories about products launched at Maison&Objet »
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for Hay appeared first on Dezeen.
This shop and office complex by Dutch architects MVRDV is disguised as an old farmhouse, but its walls and roof are actually made from glass.
The building is located in the market square of small Dutch town Schijndel, where MVRDV partner Winy Maas grew up. The town suffered damages during World War II, and Maas has been campaigning since the 1980s to replace a destroyed structure in the space between the church and the town hall.
Thirty years and six failed proposals later, the architects and the town council agreed to develop the site within the traditional building envelope specified by the town planners.
MVRDV reinterpreted this volume in glass, then compiled photographs of traditional local farmhouses by artist Frank van der Salm and created a collage of images to apply to each surface of the facade. Using a fritting technique the architects were able to print the images straight onto the glass, creating the illusion of brick walls and a thatched roof.
The building is out of scale with the original farmhouses, so it appears to be two storeys high rather than three, while visible doors measure at a height of around four metres.
“When adults interact with the building, they can experience toddler size again, possibly adding an element of nostalgic remembrance to their reception of the building,” say the architects.
The actual windows and doors don’t line up with the printed images, so entrances look like they pass through brick walls and windows appear as semi-transparent blobs.
Above: photograph is by Jeroen Musch
The architects explain that the building is “more or less translucent” and at night it is illuminated from the inside to appear as a glowing presence in the square.
Named Glass House, the building contains shops, restaurants, offices and a health centre.
MVRDV has completed a number of projects in recent months, including the new Oslo headquarters for Norwegian bank DNB and a public library inside a glass pyramid.
See more architecture by MVRDV, including the Balancing Barn holiday home.
Here’s a project description from MVRDV:
Completion of MVRDV Glass Farm, Schijndel, Netherlands
Today RemBrand developers, the Town of Schijndel and MVRDV complete the Glass Farm, a multifunctional building in the village square. The building with a total surface area of 1600m2 contains shops, restaurants, offices and a wellness centre. The exterior is printed glass with a collage of typical local farms; a monument to the past but 1,6 times larger than life. This concept can be seen as a contemporary response to retro-architecture whilst respecting the public’s wish for vernacular authenticity. In 1944 the small Brabant town of Schijndel which is the birthplace of Winy Maas suffered from WWII Operation Market Garden damages resulting in an oversized market square. In 1980 the then 20 year old Winy Maas urged the mayor to fill in the gap, 23 years after this first initiative the building is now completed.
Schijndel’s market square suffered from Operation Market Garden damages during the Second World War and has been subject to numerous enlargements and refurbishments. Winy Maas wrote a letter in 1980, and in 2000 the town council adopted the idea of a new structure in the square between the church, town hall and main street. MVRDV since then iteratively proposed new options that could fill the gap of this unusually large village square. The Glass Farm is MVRDV’s seventh proposal for the site, earlier designs included a theatre.
The village engaged vividly in the process resulting in heated debates, polls and polemics in the local press – by supporters and adversaries. The 1600m² building which is entirely covered by a glass facade consists primarily of a series of public amenities such as restaurants, shops and a wellness centre.
By coincidence, the maximum envelope that was defined by the town planners had the form of a traditional Schijndel farm. All remaining historical local farms were measured, analyzed and an ‘ideal’ average was conceived from this data. In collaboration with MVRDV, artist Frank van der Salm photographed all the remaining traditional farms, and from these an image of the ‘typical farm’ was composed. This image was printed using fritted procedure onto the 1800m2 glass facade, resulting in an effect such as a stained glass window in a cathedral. The print is more or less translucent depending on the need for light and views.
At night the structure will be illuminated from the inside, becoming a monument to the farm. At a height of 14 metres the Glass Farm is intentionally designed out of scale and is 1.6 times larger than a real farm, symbolizing the village growing into a town. The printed image follows this ‘augmented history’, with the superimposed farm door for example appearing 4 metres tall. When adults interact with the building, they can experience toddler size again, possibly adding an element of nostalgic remembrance to their reception of the building. To enhance this further, there will be a table and swing next to the building, a scaled up farmyard.
Above: photograph is by Jeroen Musch
Coinciding with the completion of the building, an exhibition opens in the local Museum Jan Heestershuis about Context and Authenticity. Later this year a book will be published by NAi Publishers exploring the development of the Glass Farm, including a literary description of the lengthy processes which lead to its realisation.
Above: photograph is by Jeroen Musch
MVRDV realised the building for RemBrand developers, a combination of Van Den Brand Real Estate and Remmers Construction Group, together with Hooijen Engineers, IOC Ridderkerk for installations, Brakel Atmos for the facade and AGC for the print.
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by MVRDV appeared first on Dezeen.
Product news: German designer Sebastian Scherer used sheets of coloured glass to create these tessellating tables.
Sebastian Scherer’s Isom tables consist of a hexagonal top resting on three upright pieces, and from certain angles look like an isometric drawing of a cube.
The sheets of blue, green, grey and bronze coloured glass are glued together with UV adhesive.
The translucent layers overlap to create varying colour intensities.
The tables are available in two heights, and the lower version is also available in an elongated shape.
Sebastian Scherer studied product design in Aachen before moving to Berlin, where he set up his studio in 2010.
Other glass tables we’ve featured on Dezeen include one with legs based on a Japanese puzzle and another that’s almost invisible.
See all our stories about tables »
See all our stories about furniture »
Here’s some more information from the designer:
Sebastian Scherer’s glass tables are design objects and pieces of art at the same time. They resemble cubistic objects and invite us to play with optical illusions. The tables are made from 10 mm strong coloured glass in blue, green, grey and bronze. The construction is as simple as ingenious. A hexagonal glass top lays on three vertical rectangles, that meet in the center.
The dark reflecting cut surfaces build rhombuses, which evoke the illusion of an isometric cube. This effect increases by the overlaying transparent colours varying in their intensity depending on your perspective. The table with multiple colours and the set impress most. Isom is available in two sizes, 60 cm in diameter, 25 cm high, and 120 cm in diameter, 35 cm high.
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Sebastian Scherer appeared first on Dezeen.
Managing to both blend in and stand out at once, the Transparent Speaker from industrial design studio People People takes an unconventional approach to home sound systems—and we love it. Based in the undeniable design capital of Stockholm, Sweden, the creative crew of designers and strategists have dissected the…
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London designer Mathias Hahn added concrete, brass and metal to these coloured glass vessels, which are inspired by making jam.
Each object in the Preserves collection references a traditional container for storing fruit, Mathias Hahn told Dezeen.
“The large blue bottle, for example, uses a classic cork. However, this cork does not close the bottle itself, but an inner glass cylinder, which stands upside down,” he explained.
The vessel with a concrete weight on top makes reference to old containers that were sealed with heavy stones, while the vessel with a metal lid and brass wire around it suggests a swing top for a glass bottle.
The grey glass container is modelled on a preserving jar but has an additional glass container hanging from its lid, while the concave glass on the green vessel references traditional fruit preserves that were sealed with animal skin.
The project is a collaboration with Austrian jam makers Staud’s Vienna.
Preserves was presented as part of Passionswege during Vienna Design Week this year, where we also reported on lampshades made from seaweed and a printer that gets its ink from felt tip pens – see all our stories from Vienna Design Week.
Other projects by Hahn we’ve featured include an oak chair referencing traditional alpine furniture, a set of lamps with hinged wooden arms and a yellow lacquered table, while last year he told us about his work in an interview filmed by Dezeen at imm cologne.
See all our stories about Mathias Hahn »
See all our stories about glass »
Here’s some more information from the designer:
Preserves
An installation of experimental jars
Traditionally we harvest fruit seasonally and start preserving them for the time when no fresh produce is available. Beyond the actual product however, we collect colour, smell and memories of the summer – preserved in a jar. Like treasuring colours of a passing landscape seen from a train window.
Preserves is a series of experimental glass vessels, which portrait the abstract concept of collecting colours. Each one composing an individual chord of shades and referencing a traditional method of preservation.
The materials and colours of the actual vessels resemble shades that are permanent in nature, whereas the content is the precious and fleeting idea of a reflection of summer light.
Preserves is a project in collaboration with premium Austrian jam makers Staud’s of Vienna and was presented as part of Passionswege during the Vienna Design Week 2012.
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Mathias Hahn appeared first on Dezeen.
Working with crushed glass, recycled ceramics, molded sand and the resin for which he is most known, multidisciplinary artist Daniel Arsham expanded upon his preferred material to create “Reach Ruin,” a beautifully resonating solo exhibition currently showing at Philadelphia’s Fabric Workshop and Museum. His ghost-like resin and fiberglass figures…
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