Un travail impressionnant sur le clip du groupe canadien Hollerado et de leur nouveau titre “Americanarama”. Une sorte de vidéo Human 8-bit, entièrement en stop motion et qui a été tourné en une seule prise. Une réalisation signée Greg Jardin (Radical Media).
Margot is a clock completely made in a single, laser cutted, metal sheet. It is a part of a serie called “doily sisters”. This group of products take ..
Voici la nouvelle campagne pour la marque Nike autour de la division Running. Un spot de publicité destiné au marché italien, par l’agence Pescerosso sur une réalisation de Lorenzo Fonda et une production de Mercurio. A découvrir en vidéo dans la suite de l’article.
Veranda, now under the inspired editorial lead of Dara Caponigro (who tomorrow morning will moderate a panel discussion on “the value of quality” at New York’s D&D Building), last week celebrated the winners of its 2010 Art of Design Awards with an Antony Todd-designed gala at the Hearst Tower. And kudos to Veranda for donating a portion of the evening’s proceeds to our boundlessly creative friends at The Alpha Workshops. Now in their second year, the magazine’s Art of Design Awards “honor trailblazers forging paths in the design industry with work that is both innovative and timeless.” The 2010 winners are Paul Wiseman (interior design), Bernie de Le Cuona (fabric design), Gil Schafer (architecture), The Rug Company founders Suzanne and Christopher Sharp (accessories and furniture), Nancy Goslee Power (garden design), and Alessio Boschi for Autore (jewelry design). All of them are featured in the October issue of Veranda. “The world is craving authenticity right now—things that are thoughtful and well executed,” said Caponigro. “By looking both backward and forward, the Art of Design Award winners prove that good classic design is anything but boring.” Nominated by leaders in the decor and design worlds, the winners were selected by a judging panel that included fashion designer Oscar de la Renta, architect Peter Pennoyer, designer Rose Tarlow, and David McFadden, chief curator of the Museum of Arts and Design.
New Career Opportunities Daily: The best jobs in media.
Welcome to the first broadcast of Core77’s Hand-Eye Supply Curiosity Club
5:30 to 6:30 pm PST (GMT+8)
Our first speaker Mark Tieszen has spent 7 years as a professional Telemark skier. Mark’s transition from athlete to designer gives him a unique perspective on the relationship between the designer and user in the process of developing athletic equipment. As a professional skier and consultant, Mark worked extensively with Crispi, an Italian company on the forefront of Telemark Ski manufacturing and design. The talk will focus on his experience working on the NTN Telemark boot and binding and the struggles of innovating in a field that is entrenched in heritage and tradition.
“Architecture is art. I don’t think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a very polluted art in the sense that it’s polluted by life, and by the complexity of things.”
–Renzo Piano
New Career Opportunities Daily: The best jobs in media.
These brick-clad apartments in Utrecht, the Netherlands, by Dutch firm Bakers Architecten appear to float above a curtain wall of glazing.
Het Zwarte Huis, or The Black House, is spread across three storeys with the upper two, which comprise six apartments, finished in Kolumba bricks.
The ground floor, which forms an office, has become the architect’s new premises.
The block sits on the apex of a curved street with a double-height bay window affording panoramic views.
The massing creates an internal courtyard overlooked by a metal-frame walkway.
A semi-submerged garage is accessed from a car-lift in the courtyard.
All photographs are by Maarten Noordijk and Frank Stahl.
Here’s some more from the architects:
In Utrecht’s museum quarter, just south of the city centre, there was for many years a vacant plot on the corner of Lange Nieuwstraat and Vrouwjuttenstraat.
This site in the midst of historical buildings is now occupied by ‘Het Zwarte Huis’ (The Black House), a complex containing six apartments with semi-underground parking and the new premises of Bakers Architecten.
The streetscape is characterized by heterogeneous, lot-by-lot development with distinctive corner buildings.
Het Zwarte Huis is a contemporary addition to the existing urban fabric, in which the notion of ‘living above work’ has been accentuated by placing the dwellings in a solid volume on top of a glazed podium.
Lange Nieuwstraat begins at Domplein and runs via a gentle curve to the Centraal Museum.
The site lies at the mid-point of the curve from where there is an overview of the entire street.
This unique vantage point is fully exploited with a large bay window. [bay window]
An internal courtyard has been created by placing the black volume parallel to the Lange Nieuwstraat. This volume also contains the various means of access for the complex as a whole.
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The semi-underground car park is reached via a car parking lift, while a communal staircase leads to the walkways along which the apartments are situated.
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The wide walkways also serve as outdoor space for the dwellings. Het Zwarte Huis was constructed using 55-centimetre-long ‘Kolumba’ bricks. The apartments facing Vrouwjuttenstraat have a white rendered facade.
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The party walls on this side form a cantilever on Vrouwenjuttenstraat, thereby relieving the podium facade of any structural function and allowing it to be entirely of glass.
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HET ZWARTE HUIS, UTRECHT
function: atelier+ 6 apartements
location: Utrecht
architect: Bakers Architecten
project team: Jan Bakers, Martijn Boer, Erik Feenstra, Noor van de Loo, Remko Verkaar
client:Bakers Architecten bv, Utrecht & Van Bekkum Projecten bv, Hooglanderveen
structural engineering: CIHR bv, Delft
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consultant: Campus Installatie Techniek BV, Barneveld IVL, Wijk bij Duurstede
lighting consultant: Maikel van Burik
contractor: Bouwonderneming Van Bekkum Houten, Houten
project area: 1100 m2
project year: 2010
Photographs:: Maarten Noordijk, Frank Stahl
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| Roomburg housing by Snitker/Borst | Apartment in Kamitakada by Takeshi Yamagata Architects | More architecture stories |
It’s not an obsession and it’s not quite a hobby. However, for almost two years, between 2004 and 2006, I checked Ebay nearly every day for Concorde in-flight service items. In the interim, I’ve amassed a substantial collection, mostly from the last British Airways fitting, co-designed by Conran and Factory Design. My friends call it my “Concorde thing” and some joke about the size of the collection (I have service for 16, including full placesettings down to the official linen napkins and placemats, plus a bevy of serving utensils, a thermos, coffee pot, creamers, salt & pepper shakers, etc.). Although I have a bunch of the official Concorde gift items, including some from earlier fittings, the focus of my collection is on the in-flight food service. After all, that’s really what the experience was about.
I don’t want to take anything away from the Mach 2.0 speed that had you landing in JFK before you took off from Heathrow, but the flight itself wasn’t so different. It was a much smaller fuselage, with seats the size of current economy seats (though better appointed), but there wasn’t much sensation of the speed—just a digital speedometer on the wall at the front of the cabin and, if you were lucky to have a relatively clear day, a glimpse out the window of the curvature of the Earth. It didn’t feel any faster when you were in the Concorde—not even on takeoff. However, landing was FAST! Two quick banks after landfall and you were immediately landing. No circling for this bird.
So, the real sensation of flying the Concorde was all inside: impeccable service, good food and great wine, and by the time dessert was finished, they were already packing up for landing.
To celebrate the release of Austrian based print magazine Kursiv‘s 2010 yearbook based on the Die 7 Todsunden (The 7 Deadly Sins) the well established Das Mobel furniture store in Vienna commissioned seven designers to create their own interpretations of one of the seven cardinal sins.
http://www.robertruef.com/”>Robert Ruf‘s contribution, pictured above, was based on the sin of Pride – a lamp that shines only on to itself!
Our latest design challenge, Play-Doh Kicks, was not only one of the most fun, but also one of our biggest. We asked our readers to sculpt a rendition of their favorite kicks in play-doh as a mini tribute to shoe design (and our childhoods).
With over 100 pairs of play-doh shoes in the closing line-up, the challenge was an especially hard one to judge, as each entry has a lovely character all its own. Wth the help of Woody, editor and founder of Sneaker Freaker, and Kueng-Caputo, Swiss designers and copy experts, we’ve narrowed one hundred and twenty-one entries down to one grand prizewinner and two honorable mentions, based on that magic combination of fidelity, craftsmanship and interpretation.
With no further ado, we’re thrilled to announce that Flipp82 from Germany has won the grand prize for his interpretation of the Adidas SL 72, combining two colorways in one hyper-detailed model, down to the logo on the tongue of the sneaker and the perforated yellow tread. The thin, light modeling work makes the shoe feel well-worn and loved, which is exactly how we imagine them in their owner’s closet. Flipp82 will receive a $100 gift certificate to the new Core77 store, Hand Eye Supply, a copy of Copy by Kueng-Caputo, a lifetime subscription to Sneaker Freaker, and a publication spot in their December issue.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
