Focus sur ce projet du journaliste Christopher Moloney qui s’est intéressé à revenir sur les lieux de tournages des plus célèbres films pour les comparer. Voici plus de 50 exemples avec les longs métrages : Ghostbusters, Men In Black, The Dark Knight Rises, Home Alone 2, Léon ou Ghost à découvrir dans la suite.
Interiors and products will need more tactile designs as the use of computers and screens makes us crave a sense of touch, trend forecaster Li Edelkoort predicts in this last movie filmed at Dezeen Live.
“The more screens we have the more our figures are afraid we’re going to disappear,” she says. “I feel it already in my fingers that they want me to touch lots of things so I don’t loose contact with touch.” Edelkoort therefore predicts that textiles will be increasingly important in interior design, supporting the increasingly nomadic lifestyle that mobile technology permits.
“You can be in the middle of the desert and people will think you’re in New York,” she says, “So you become anonymous and you don’t care anymore where you are. I think that sort of freedom which is going to be created will make us want to have lots of textiles, lots of rugs, we will have portable tables, portable sinks, portable lights like lanterns.”
This nomadic attitude could also alter our social relationships, she suggests. “This liberty we have now in work and play will reflect also in the other parts of life, so eating, sleeping, entertaining, we would be more nomadic about that, not always sitting at the same table with the same partner.”
Edelkoort proposes grandparents and grandchildren as “the new couple of the future,” as people live longer and choose more freely who to spend their time with. She thinks that “individualism is over and so people care much more about family, even if it’s chosen family and friends,” leading to a more compassionate society. “It’s all about a society which is, let’s say, softer, more rounded, more textured.”
Above: image by Michael Baumgarten
Edelkoort begins the talk with an image showing the hands of a child and elderly person. “There is a falling away of the generation gap, whereas grandparents are very young and young children are very old,” she says. “They hang out together for a while… it means that you can be a baby your whole life, or you can be already old even when you’re born. I think that age is now going to be more of a mental thing than a physical thing actually.”
Above: felt cushion by Peta Lee and designs by Coral Stephens
The next image represents nomadism and shows textiles with portable furniture. “We have all our devices we can work and stay wherever we want,” says Edelkoort. “This new feeling of freedom, which is fairly recent, is only now starting to modify the brain I believe.”
Above: Mine Kafon by Massoud Hassani
Her third image shows Massoud Hassani’s device for seeking and destroying landmines, based on a wind-powered toy and made of bamboo and plastic components. “It’s a mine killer, but its completely organic and very cheap,” Edelkoort says, adding “it’s very beautiful how a childhood toy can become now such an amazing device.”
Above: Teresa Toys by DMOCH
Next is a set of building blocks for children comprising rounded wooden pieces and small leather balls. “This is to teach babies how to feel form and how to create buildings and skylines, and it’s like soft toys instead of the square toys,” she explains. “Of course, already the babies have their screens so this is to counterbalance the screens.”
Above: photo by Thomas Straub for Madé for View on Colour
The final image shows a mask incorporating bones and introduces the 2013 Arnhem fashion biennial (MoBa 13) that Edelkoort is curating on the theme of fetishism. “There is a moment in fashion where there is this super need to be very fetishistic. There is animalism, there is children’s behaviors, there is of course bondage, there is lace, there is fur, feathers and so on,” she explains. “I’m going to investigate why.”
Edelkoort concludes with the idea that “trend forecasting is like archeology but to the future”, explaining how she looks for little fragments in current culture to predict what’s coming next.
Dezeen Live was a series of discussions between Dezeen editor-in-chief Marcus Fairs and a number of designers and critics that took place at design exhibition 100% Design during London Design Festival this September.
Each of the four one-hour shows, recorded live in front of an audience, included three interviews plus music from Dezeen Music Project featuring a new act each day. We’ve been posting all the movies we filmed on Dezeen and you can watch all the movies from Dezeen Live here.
The music featured in the movie is a track called Business Class Refugees by Indian record label EarthSync. Listen to more of their songs on Dezeen Music Project.
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tactility” – Li Edelkoort at Dezeen Live appeared first on Dezeen.
German designer Clemens Weisshaar argues that cutting edge software from race car engineering and hypersonic aircraft will underpin design in the future in this movie filmed at Dezeen Live during 100% Design.
In the movie, Clemens Weisshaar, one half of design duo Kram/Weisshaar, introduces the computer-controlled X-51 hypersonic test missile, which is designed to fly at several times the speed of sound.
“There are physical objects out there, including every Airbus aircraft, that wouldn’t fly anymore if you switched off the computer systems,” he says. “Software becomes an integral part of a physical object […] and that’s not even the future, it’s now.”
Above: the X-51 hypersonic test missile
He then talks about an Audi race car created by engineers with whom he recently collaborated on a high-tech, ultra-lightweight chair.
“Those guys, they think completely differently – they really think of energy as investing energy in an object to make it very light, but then you need the return on the investment by saving energy afterwards,” he says. “Only if you break even and actually save energy after 100,000 kilometres on the road, only then is it worthwhile doing it. Otherwise, it’s a waste.”
Above: an Audi race car
Weisshaar also criticises as “naïve” the idea that making furniture from wood is always the most sustainable option, and adds: “Design students these days tend to think that everything they can make with a cordless drill is amazing. That’s also naïve.
“The age of mass production hasn’t stopped – we’re more and more people on this planet, so we can’t customise products for everybody.”
Above: Istanbul
Showing a slide of the Istanbul skyline, he comments on the Multithread furniture he showed at the Adhocracy exhibition during Istanbul Design Biennial, which has metal legs produced in a new 3D printing process.
“Now there’s technologies where you can actually melt on metals straight away and print metal objects straight away. That’s what we’re using – it’s called selective laser melting,” he says, adding that 3D printing with plastic has largely produced trivial objects like ashtrays and egg cups. “We don’t do the much-hyped 3D printing of plastics […] now there’s technologies where you can actually print usable objects.”
Above: diagram of a lioness’ muscles and skeleton
He then shows an image of the muscular and skeletal structures of a lioness, explaining: “There’s so much chemistry, engineering, bio-engineering going on that nobody really understands it, not even doctors or biologists […] the big challenge of the 21st century is to control entire systems, complex systems, and understand all of it.”
Above: software analysing forces acting on furniture
The final slide depicts a computer program analysing the forces acting on a piece of furniture, which Weisshaar used to prototype pieces such as the chair for Audi.
“We take engineering code that lets us calculate the forces acting within an object, and we’re bringing that into design software we’re writing,” he explains. “We want to use it to see things that the eye can’t see […] in many cases you make assumptions, you think there’s a lot of strain on the joint there, but it’s not, it’s somewhere else.
“We’re using [this technology] for tables and chairs now because we think that tables and chairs really deserve this kind of attention,” he adds.
Weisshaar’s other work with designer and computer scientist Reed Kram includes computer-designed concrete stools and pedestals and eight robotic arms installed in Trafalgar Square.
Dezeen Live was a series of talks between Dezeen editor-in-chief Marcus Fairs and a selection of designers and critics that took place at design exhibition 100% Design during London Design Festival this September.
Each of the four one-hour shows included three interviews as well as music from Dezeen Music Project. We’ve been posting all the movies over the past few days and you can watch all the movies we’ve featured so far here.
The music featured in this movie is a track called Business Class Refugees by Indian producer Earth Sync. Listen to more Earth Sync songs on Dezeen Music Project.
See all our stories about Benjamin Hubert »
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See all our stories about London Design Festival 2012 »
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object” – Clemens Weisshaar at Dezeen Live appeared first on Dezeen.
Shamil Thakrar, owner and founder of London restaurant Dishoom, laments the disappearance of traditional Irani cafes in Bombay and explains why he’s setting them up in London in this movie filmed at Dezeen Live during 100% Design.
Above: Miles Davis and musicians recording Kind of Blue
“India doesn’t value it’s traditions much,” says Thakrar, “[in Britain] we do look backwards a bit more for meaning. I think for us to rescue the tradition of these cafes is pretty precious.”
Cafes started by Iranian immigrants in the 1920s, which are solely based around the food and are “undesigned”, are vanishing as India “rushes towards modernity” and Thakrar says that where there used to be 400, only about 30 are left. “The children of the cafe owners don’t want to be cafe owners, they want to be bankers or accountants, so there is an adverse trend there,” he says.
Thakrar set up Dishoom in Covent Garden and more recently Shoredtich to bring the food and atmosphere of these cafes to London. “Being in a place that feels undesigned, which takes you to Bombay, we try and create that here,” he explains.
The first of five images Thakrar talks about is of Miles Davis and his musicians recording the Kind of Blue album in just one take. “This is an incredible example of art,” says Thakrar. “Miles Davis once said ‘it’s not the notes you play, it’s the notes you don’t’, which of course resonates with design and food as well, and we think about that a lot.”
Above: Dishoom’s pop-up restaurant on London’s South Bank last summer
Next he shows Dishoom’s pop-up restaurant on London’s South Bank last summer, made from recycled materials. “The whole idea of the pop-up was that if you take one of these cafes and walk it down to Bombay’s Chaupati Beach in 1965 and it were to take a mild acid trip, what would happen?”
Next up is a set of Tintin canvas prints. “He goes through life naive, he’s wonderfully innocent and I think we all should do that,” Thakrar says, “particularly when you’re thinking about design and food, you should come at it fresh, with a wide-eyed attitude.”
Above: Tintin canvas prints
A Caravaggio painting follows and Thakrar describes the similarity between the Italian artist’s depiction of flaws and the approach to designing their latest Dishoom branch.”We spent a week with our designers recently looking for those Caravaggio-esque bits, finding the parts of these old cafes we could bring alive in a different venue,” he explains.
Thakrar ends with a picture of an elderly man in his traditional restaurant in Bombay. “When you take a bite of their food, you’re tasting the century of tradition and heritage, which makes the food more than just food,” says Thakrar.
Above: Caravaggio’s Supper at Emmaus painting
Dezeen Live was a series of discussions between Dezeen editor-in-chief Marcus Fairs and a number of designers and critics that took place at design exhibition 100% Design during London Design Festival this September.
Each of the four one-hour shows, recorded live in front of an audience, included three interviews plus music from Dezeen Music Project featuring a new act each day. We’ve been posting all the movies we filmed over the past few days, and you can watch all the movies we’ve featured so far here.
Above: a Bombay cafe owner speaking to his customer
The music featured in the movie is a track called Business Class Refugees by Indian record label EarthSync. Listen to more of their songs on Dezeen Music Project.
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– Shamil Thakrar at Dezeen Live appeared first on Dezeen.
Curator and writer Beatrice Galilee proposes that architecture and design exhibitions need to be about more than just “sticking furniture on plinths” in this movie we filmed at Dezeen Live during 100% Design. “It’s just not good enough anymore,” she says.
Contrasting this year’s Venice Architecture Biennale with the upcoming Lisbon Architecture Triennale she’s curating, Galilee explains why her approach avoids showcasing architectural models and products in favour of process and debate. “We’re not really interested in showcasing things that have happened, and we want to showcase things that will happen: people that will change the future of architecture, who’s going to be curating the next city and what’s that going to look like?”
This search for the next generation who will shape our world leads Galilee to work closely with critical designers who specialise in experiments and social commentary. “They don’t have an aim to be as part of a kind of manufacturing process but they would rather be involved in a discussion,” she explains.
Design with a critical agenda demands a critical response and Galilee stresses the need to uncover and nurture creative criticism. “There’s a real sense of urgency for a kind of more critical design and a kind of conversation about design,” she says.
By way of example, the talk begins with a discussion about the Hacked Lab exhibition that Galilee curated in Milan earlier this year (above), which comprised a series of events centred around new technologies and design experiments. “The idea of the week was to try and find different ways of presenting designers’ ideas and try to find things that are not just stuff on plinths,” she says. One of the activities involved designer Dominic Wilcox racing a 3D printer in a competition to build a model of the nearby Duomo cathedral.
She goes on to present a photograph taken in Africa (above), a place that she is currently researching, and explains how the narrative of African design is starting to focus on technology and particularly on science fiction. “Science fiction is quite an interesting way of designing in its own sense, city wise and landscapes and so on,” she explains.
The Black Book Interview Project, a series of events during the London Design Festival about the “urgent topic” of critical design is discussed next. “[The curators] were really trying to find out where critical design is, who’s writing it, who’s doing it, why isn’t there more of it?” says Galilee, before explaining how designers like Tuur Van Balen (above) are more interested in a “more social or anthropological or scientific kind of narrative”.
Broadening the topic to include architecture, Galilee discusses how this year’s biennale in Venice contained too many models presented as whole projects and not enough engagement with ideas. “Curators really should be sort of raising their game at this moment and be really trying to challenge audiences and to provide something interesting to say,” she adds.
Dezeen Live was a series of discussions between Dezeen editor-in-chief Marcus Fairs and a number of designers and critics that took place at design exhibition 100% Design during London Design Festival this September.
Each of the four one-hour shows, recorded live in front of an audience, included three interviews plus music from Dezeen Music Project featuring a new act each day. We’ve been posting all the movies we filmed and you can watch all the movies we’ve featured so far here.
The music featured in the movie is a track called Mosquito Maps by American designer and musician Glen Lib. Listen to more of his songs on Dezeen Music Project.
See all our stories about Beatrice Galilee »
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critical design” – Beatrice Galilee at Dezeen Live appeared first on Dezeen.
In the next of our movies filmed at Dezeen Live during 100% Design, British industrial designer Benjamin Hubert argues that designers should focus on building their own name as a brand.
Above: “misused” furniture in Brazil
In the movie, Hubert says that “a designer’s name is incredibly powerful” and “designers really need to focus on their own name”.
“Do one thing really well, talk about one thing really well, have a message, have an ethos, and keep hammering it home,” he advises. “It’s a simple process but it’s been really beneficial for us.”
Above: overhead cables in Japan
Hubert starts off by showing a selection of images that inspire his work, including overhead cables in Japan, which he describes as “organised chaos”, and “misused” furniture from Brazil where people have strapped chairs to pillars and trees to create makeshift living spaces.
“They’re sort of used for old boys watching the street, watching the world go by, and I just love this idea that they’ve been customised,” he explains. “It’s these strange ways that furniture is misused and has a second life. I just find this story and the life cycle of a product really interesting.”
Above: Tenda lamps in Hubert’s studio
He then discusses his studio’s new in-house approach to the design and manufacture of some projects. Commenting on the tent-like lighting he launched at London Design Festival in September, he explains: “Instead of handing it over to a third party and essentially having a middle man in the process, we decided that we’d develop the whole thing.”
“It’s just thinking about the idea of tapping into that, and diversifying from the royalty model and the fee model to doing a bit of self production,” he adds.
Hubert presented the Tenda lamps at designjunction this year, alongside a chair made from a T-shirt-shaped piece of bent plywood developed for Portugese brand De La Espada.
Above: furniture by Benjamin Hubert at designjunction
Dezeen Live was a series of discussions between Dezeen editor-in-chief Marcus Fairs and a number of designers and critics that took place at design exhibition 100% Design during London Design Festival this September.
Each of the four one-hour shows, recorded live in front of an audience, included three interviews plus music from Dezeen Music Project featuring a new act each day. We’ve been posting all the movies we filmed over the past few days, and you can watch all the movies we’ve featured so far here.
The music featured in the movie is a track called Witness is Silent by American designer and musician Glen Lib. Listen to more of his songs on Dezeen Music Project.
See all our stories about Benjamin Hubert »
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See all our stories about London Design Festival 2012 »
The post “It’s all about brand – a designer’s name is
powerful” – Benjamin Hubert at Dezeen Live appeared first on Dezeen.
Designer Philippe Malouin describes how the Olympics has changed Hackney in this movie we filmed at Dezeen Live during 100% Design.
Above: Malouin’s Hackney-based studio
Malouin talks about the gentrification of the east London borough, where his studio is based and that Dezeen featured prominently in our Designed in Hackney coverage. “We measure how fast Hackney is changing by the amount of ‘blackboard cafes’ selling flat white coffees that pop-up,” he says. “There’s a new one opening every week.”
“It’s also creating a giant demand which escalates prices,” he continues.”Inhabitants of Hackney can’t necessary live there any more.”
Above: American designers Charles and Ray Eames
The second of five images he shows is of multidisciplinary American designers Charles and Ray Eames, who he cites as his inspiration. “In terms of a studio, what they represent and what I aspire to, they are the best possible example.”
He then shows photos of rolling up fabric to create stools without metal frames. “Form and style are extremely important but they usually come after a long, stretched out process-led design and then we think about the shape,” he says.
Above: the making of Hardie Stools commissioned by Kvadrat
“We’re also interested in the way products inhabit spaces,” he explains about the space his studio created for furniture company Artek at designjunction this year.
He finishes by showing his spinning “light paintings” made of Swarovski crystals, currently on display at the Digital Crystal exhibition at London’s Design Museum.
Above: the Artek space at designjunction
Dezeen Live was a series of discussions between Dezeen editor-in-chief Marcus Fairs and a number of designers and critics that took place as part of the talks programme at design exhibition 100% Design during this year’s London Design Festival.
Each of the four one-hour shows, recorded live in front of an audience, included three interviews plus music from Dezeen Music Project featuring a new act each day. Over the next few weeks we’ll be posting all the movies we filmed during the talks and you can watch all the movies we’ve featured so far here.
Above: Blur “light paintings”
The music featured in the movie is a track called Mosquito Maps by American designer and musician Glen Lib. Listen to more of his songs on Dezeen Music Project.
See all our stories about Philippe Malouin »
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at Dezeen Live appeared first on Dezeen.
In this movie filmed by Dezeen for Philips Lumiblade, German designer Daniel Lorch explains the ideas behind his desk lamp, which will be the first to use OLED technology when it goes into production next year.
OLEDs (organic light-emitting diodes) generate light when electricity is passed through layers of organic semiconductor material mounted on glass, so they can be very thin and emit even light from a flat surface rather than spreading it from a single point.
Called Moorea, Lorch‘s lamp incorporates two OLED panels side by side, supported on a sprung-steel stem. “I was really fascinated by this material – no matter how hard you bend it, it always goes back,” he says in the movie.
The curve of the lamp’s stem is held under tension by a rubber-coated power cable, which is clamped in a component normally used to hold ropes on a sailboat. The angle of the light is adjusted by sliding this cable through the clamp and the base of the lamp features a tab so the whole thing can easily be swivelled.
Lorch came up with the idea while attending a workshop with Philips: “I knew I needed to have at least two panels to have proper light for the desk and when I put two OLEDs together it immediately reminded me of the old bankers’ lamps because of the proportions – it was long and quite thin – so I decided to do a new interpretation of the banker’s lamp.”
The designer spoke to Dezeen at the Lumiblade Creative Lab in Aachen, Germany, where we were invited to make a film about OLED technology and its future uses. Watch Dietmar Thomas of Philips Lumiblade talk about how glowing walls, windows and furniture will replace light bulbs and LEDs in homes as OLED technology improves in our earlier movie.
Lumiblade is the brand name of Philips’ OLED lighting products and the Lumiblade Creative Lab is used to introduce designers to OLEDs and help them develop innovative uses for the technology.
Daniel Lorch Industrial Design was founded in Berlin in 2010 and past stories about its work on Dezeen include a chair made by splitting a steel tube and peeling back the legs, and metal lamps made by pinching a tube together at one end.
The music in the movie is a track called Mostly Always Right by 800xL. Listen to the track on Dezeen Music Project.
Here’s some more information about the lamp from Daniel Lorch Industrial Design:
Moorea is the first OLED desk lamp which – with 230 lm – surpasses the low-power range of ambient lighting. It vibrantly illuminates its surroundings, and makes the potential of this fascinating cutting edge technology tangible. The new adjustment mechanism foregoes joints. It is based on the elasticity of a thin strip made of shape memory alloy (SMA), which is bent into the desired position by means of a nylon strengthened power cable.
Since the power cable is an integral component of the adjustment mechanism, the problem of cable routing becomes redundant. For quick adjustments of lighting the lamp can also pivot around its own axis. The proportions of Moorea are based on the classic time-proven bankers lamp, never missing from lawyers’ desks in Hollywood films.
In collaboration with Philips Lumiblade.
Materials: Philips GL350 OLED, shape memory alloy (SMA), anodized aluminium, nylon-strengthened power cable.
The post “It will be the first proper
OLED desk lamp” appeared first on Dezeen.
Dans la continuité de Filmography 2010 et 2011, la jeune Genrocks a eu l’excellente idée de prendre 300 films sortis en 2012 et de nous proposer d’en retrouver des extraits autour d’un montage du plus bel effet et très bien pensé. Une véritable réussite résumant une belle année de cinéma à découvrir dans la suite.
Liste complète des 300 films sortis en 2012.
London designer Dominic Wilcox shares his thoughts on 3D printing and presents some of his “fun, crazy” projects including GPS shoes, a combined coffin and desk and a reserve bungee jump in this movie we filmed at 100% Design. “We shouldn’t be so scared of putting out ridiculous thoughts,” he says.
“I think we’re all very tight and worried about what people think,” Wilcox explains. “But actually fun, crazy ideas – maybe something else comes out of them.”
Above: photos taken during the recording of Sounds of East London
Wilcox introduces the first of five images he chose for the talk, which shows pictures taken while creating his Sounds of Making in East London record; an alternative east London Olympic souvenir. ”We have a huge amount of creative makers,” he says. “What I decided to do was to celebrate that fact and so I visited 21 historical, skillful, creative makers and simply recorded the sound of them making, of them working.”
The next image is a montage of his races against a 3D printer earlier this year, when he beat the machine on two occasions. “The ironic thing about rapid prototyping is how slow it is,” he comments. He’s also sceptical about the usefulness of 3D printers: “I think if the quality goes up and the price comes down then a lot of people will get them,” he predicts, but asks ”do we really want people at home printing off a load of rubbish?”
Above: racing a 3D printer during Salone de Mobile 2012 in Milan
Wilcox then explains some of his illustrations from the Variations on Normal series, including a family poncho, shoes for walking up hills and a reverse bungee jump. “In my sketchbooks I’ve got lot of inventions, or just ideas of things,” he says. ”It’s just an alternative way of thinking.”
Above: invention illustrations
Another of those ideas is his No Place Like Home GPS shoes that were inspired by Dorothy from The Wizard of Oz. ”When she clicks her heels together she gets transported back to Kansas and I thought, ‘is it possible to make that real in some way?’” he says.
Above: No Place Like Home GPS shoes
Dezeen Live was a series of discussions between Dezeen editor-in-chief Marcus Fairs and a number of designers and critics that took place as part of the talks programme at design exhibition 100% Design during this year’s London Design Festival.
Each of the four one-hour shows, recorded live in front of an audience, included three interviews plus music from Dezeen Music Project featuring a new act each day. Over the next few weeks we’ll be posting all the movies we filmed during the talks and you can watch all the movies we’ve featured so far here.
The music featured in the movie is a track called My Son is a Fish Finger by Reset Robot. Listen to more of their songs on Dezeen Music Project.
See all our stories about Dominic Wilcox »
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See all our stories about London Design Festival 2012 »
The post “Do we really want people at home
printing rubbish?” – Dominic Wilcox appeared first on Dezeen.
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