Découverte de cette chapelle transparente et entièrement en acier, composé de 2000 colonnes sur 10m de haut. Un travail et projet impressionnant conçu par Arnout Van Vaerenbergh et Pieterjan Gijs du studio d’architecte Gijs Van Vaerenbergh. Plus d’images dans la suite.
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Wrap your mobile phone in fine, seamless Italian leather
Slovenian company Calypso Crystal continues to add a human touch to tech accessories with their new Italian leather Calypso Case. Like their remarkable, hand-polished Crystal Dock, the cases are the work of experienced craftsmen who hand-stretch the leather skin around the titanium frame in order to avoid stitching.
The Calypso speaks to the beauty vs. protection dilemma many iPhone users have with most protective cases. Not only is it arguably as luxurious as the device itself, but its holster-like design allows you to keep the phone secure when not in use, and still show off its glossy exterior when it is.
Handcrafted in four vibrant colorways, the Calypso Case works with the iPhone 4 and 4S. Pick one up at Calypso Crystal online for $119.
Young designer Rami Tareef creates chairs with geometric patterns by wrapping and weaving cords around spare, steel frames.
The chairs are the product of Tareef’s COD Project (Crafts Oriented Design), in which the designer aims to update and preserve traditional weaving techniques.
He applies skills learned from a wicker craftsman in the Old City of Jerusalem to contemporary forms and materials.
The chairs are composed of only two materials; 500 meters of polypropylene cord are threaded around 10 meters of steel rod.
Alternating colours of cord create a secondary pattern in the weave that accentuates the chair’s structure.
Tareef is a recent graduate of Bezalel Academy of Arts and Design .
See all our stories on chairs »
Photographs are by Oded Antman.
Here’s some more information from the designer:
The COD (crafts oriented design) project 2011
By Rami Tareef
What really happens in the encounter between craft and design, what fundamental differences in thought, planning and execution characterize the objects produced by the craftsman and the designer?
This past year I have been preoccupied by a fascinating endeavor that is, essentially, a hybridization of traditional craftsmanship and contemporary design. The project was born of my desire to create by embracing the truth of the material. A designer’s desire to explore, to engage in trial and error, to learn, to know and to produce something new − via the sole agency of his thinking hands.
The project tries to illuminate the differences and similarities between craft and design; it tests and stretches the limits of their hybridization, and tries to end up with something identifiable from that past world. The COD project deals with wicker/woven furniture − a traditional craft product − and preserves its production values while incorporating innovative design features from the world of mass production.
This One-Off stool try to make a new approach to the idea of “One of a kind” product by combination between traditional craft technique an high technology of cutting laser. It’s came to raise question about status of products with hand made values in our saturated mass production world. Is there any soul in these products?
The rest (other 5 chairs) of the project deals in the hybridization between traditional craft technique and contemporary design attempt to create something new while keeping the truth of the old tradition.
Some chairs examine the technique and stretching the boundaries of it. The angular structure of the chair came up to keep the technique possible to apply.
On the other hand, part of the design trying to touch in textile design, it comes through the use of colors and multi-variable relationship between the cord and the chair structure that create many surfaces and three-dimensional spaces.
Further, the project came from my faith, as a young designer, that we should preserve traditional crafts by upgrade them through design and place them in the contemporary context in our world and culture.
I learned the basic technique from a wicker furniture craft man in the old city of Jerusalem and from there began a long development process that included dozens of models to upgrade technique.
Bezalel, Academy of art and design, Jerusalem – final project, B.Des of industrial design department
Furniture Craftsman: Abo Ahmad Nazir
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| Serpentine by Eléonore Nalet | New Amsterdam Chair by UNStudio | Flux by Jerszy Seymour |
Austin’s furniture collaborative crafts elegantly upcycled designs
What happens when two sustainable design outfits specializing in distinct materials team up? In the case of Rad Furniture and Hatch Workshop (both also fabricators), the partnership is geared toward “thoughtful and well-crafted” furniture with material integrity. The two Austin companies’ latest and largest retail project for a local startup, sustainable building supply and resource center TreeHouse, is no exception.
A visit to their Austin studios might find John Lee Hooker, The Talking Heads or Mother Falcon (a local Austin band, of which members help out in the shop) playing to inspire their designs. All of the projected fixtures and furnishings for TreeHouse epitomize Rad/Hatch’s sustainable philosophy, to “minimize waste during production and maximize the lifespan” of their products.
Working primarily with reclaimed objects, repurposed wood (Hatch’s material of choice) and steel (Rad’s specialty), the designs for TreeHouse maximize the value of material through clever application. Examples include a dynamic table built from salvaged sprinkler pipes and elegant screen walls constructed from recycled slats of wood.
Although designs for TreeHouse are mostly in the development stage, the work promises to “walk a line between deliberate and over-designed.” The effect of this combines beautifully raw materials with intelligent design.
Keep an eye out for Rad/Hatch Collaborative’s final designs for TreeHouse. In the meantime, browse both sites for a look at their beautifully finished work in their respective media of choice, like Rad Furniture’s sleek Barbara Stool with backrest and Hatch Workshop’s ingenious Comal Counter for kitchens. See more images of their independent projects after the jump.
En imaginant que les objets prennent vie et bougent en fonction de la musique, cette vidéo “Steel Life” impressionne par sa réussite visuelle. Un court-métrage pensé et réalisé par Mateusz Zdziebko & Patryk Kizny à découvrir dans la suite.
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A master craftsman’s line of carbon steel knives for at-home chefs
The term “Master Bladesmith” may stir images of medieval men hammering steel on anvils, preparing for battle. Yet visit the workshop of Bob Kramer, one of only a hundred certified such experts in the world, and you’ll find a modern craftsman at work, renowned for his custom-made carbon steel blades—which regularly sell for up to $26,000 per knife. For those without Batali-deep pockets to afford the $400 per inch his one-offs typically run, Kramer will release a new knife in collaboration next month with Zwilling J.A. Henckels to arm today’s cooking aficionados for skirmishes on cutting boards.
The partnership was born from a recognition that many Americans are returning to the kitchen with a desire for high-quality ingredients and and the tools to match. Not for the amateur culinary enthusiast, Kramer’s blades require a much higher level of care then their more widespread cousin stainless. But if you are serious about cooking and can commit to the maintenance, the rewards are plenty—carbon steel can hold a keener edge, will retain that sharpness much longer and will develop a patina over time giving each blade a totally unique look.
Kramer designed the series of blades from tip to handle and, by taking advantage of Zwilling’s scale and technological capabilities, was able to create a product that meets his standards but at a more realistic price point for the average domestic chef. Lightweight, precise and with grenadille wood handles, the hand-finished knives feel amazing in the palm, and make an impressive addition to any kitchen.
The series ranges from a 3.5″ paring knife to the classic 10″ chef’s knife. They will be available in June, exclusively from Sur La Table and ranging from $140-350.
Also on Cool Hunting: Cut Brooklyn
Win the latest “Perfect Spout” water bottle
Kor has been producing quality reusable water bottles since their inception in 2008. With forward-thinking design, they excel at creating functional H20 portage and are committed to changing the habits of the Dasani-swilling masses, The release of their newest vessel, the Vida, does nothing less than reinvent the steel water carrier.
Kor’s steel bottle uses Kor’s “Perfect Spout” technology, which is designed to feel smooth and natural against the lip—unlike most bottles where you hit the screw-top threading or wide-mouths that make it hard to not dribble while drinking. Topped with a handle that makes it easy to clip or carry, the tapered shape of the bottle feels good in the hand too. Finishes include Anthracite, Natural Finish and Arctic White, which add to its sturdy and sleek appearance. The Vida is available in 500 ($22) and 750ml ($25) sizes and sells from the Kor site, but we’re giving away five bottles at random to our Twitter followers! To enter, simply retweet our link to this story with #vida before midnight EST on Wednesday, 23 March 2010.
London studio Tamir Addadi Architecture have inserted a tiny staircase to access a tiny loft in a London house.
The painted steel staircase has been slotted into a 140 cm x 90 cm space on the landing.
The self-supporting stairway is separated from the walls by a narrow gap while a free-standing steel pole serves as a handrail.
See more staircases in our Dezeen archive.
Here’s some more information from the architects:
Tamir Addadi Architecture
Loft access, London
Completed 2010
The client asked us to replace the ladder to the loft with permanent stairs in order to improve the connection of the loft to the rest of the house, as he decided to start using it as a study. The main challenge was to design a staircase for the narrow space of 140 cm x 90 cm.
We found it important to come up with a design solution that would help integrate the two differently designed floors – the wood-clad loft with its clean modern lines, and the carpeted Victorian lower floor with its engraved banisters – without disturbing each of their distinctive characters.
We aimed to achieve this by designing three minimal and separate elements that function together as a staircase but remain abstract in shape, and can be seen almost as pieces of furniture that have been placed in the space – rather then a fixed feature of either the lower or upper floor.
One result of widening the opening to the loft was an increase in the amount of natural light coming in from the loft’s skylight into the originally quite dark landing of the lower floor.
The narrowness of the stairs and the fact that they are slightly removed from the wall contribute to this effect, as they let some light in all around them.
Improving the flow of light was also another way of strengthening the connection between the floors and making it more inviting to use the staircase and climb up into the loft.
Materials: 6mm welded and painted steel sheet, 50mm painted steel post, 20mm toughened glass.
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| Residence in Kurakuen by NRM-Architects Office | More staircases on Dezeen | More interiors on Dezeen |
Scottish studio Groves-Raines Architects have completed a composting shed in Edinburgh made of the bars normally used to reinforce concrete. (more…)
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