Bellissima questa scritta dell’alfabeto in legno. Se non ho capito male è di questa designer che la esporrà al capacity show in Canada. Un’altra versione, con altro font, la trovate qui, credo però appartenga alla vecchia collezione.
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Cologne 2011: Berlin designer Mark Braun presented a series of cylindrical plywood stools at imm cologne in Germany last week.
Called Ton, the collection includes stools in three different heights, each with a slot cut out to form a handle.
imm cologne took place 18-23 January. See all our coverage of the event here »
Dezeen editor-in-chief Marcus Fairs interviewed Mark Braun as part of our series of Dezeentalks at [D3] Design Talents at the fair. Movies of all the talks will be shown on Dezeen soon. Meanwhile you can see films of all the Dezeentalks at last year’s fair here.
Photographs are by Inka Recke.
The information that follows is from Mark Braun:
TON – a wooden stool series
TON is made out of laminated wood in bleeched and smoaked oak. Different stool types offering functional hights useful as step, stool and leaning aid and stackable as they are you can also use them as occasional tables.
Flexible use is also supported by the large grip hole for carring your TON as a suitcase – and beside that the grip hole creates a formal icon to underline the beauty of a pure but characteristic form.
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| Reichtum by Mark Braun for Lobmeyr | More about Cologne 2011 | Authentic Wood by Le Corbusier |
Il designer coreano Seongyong Lee ha disegnato questo sgabello utilizzando come supporti per la seduta dei tubi stratificati in legno simulando quelli da copisteria in cartone. All’interno del post trovate alcune foto in dettaglio.
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Irish studio dePaor Architects have inserted this oak grid-shell structure into the café area of Dublin Airport‘s Terminal 2, which opened late last year.
The undulating structure sits in the centre of the OAK bar and provides a canopy over the space.
It’s made from strips of veneered plywood that slot into one another.
Perforated wooden vaults frame the entrance into the café-bar.
More restaurants and bars on Dezeen »
Photographs are by Alice Clancy.
Here’s a tiny bit of text from the architects:
Dublin Airport Landside bar.OAK
The landside bar and cafe in the new terminal at Dublin airport is a n 84mm oak veneered plywood deformed grid shell as a baldacchino over bar and server.
It stands on three stainless steel shoes on the limestone terrace and suspend a murano glass at the limestone stone bar.
The snug is excavated as a series of parallel vaults with service strips between.
These oak veneered vaults are slot perforated to achieve a smoke reservoir.
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| Swoosh Pavilion at the Architectural Association | Labyrinth of Woods by Point | 4am by dePaor Architects |
This multi-purpose sports hall by Parisian studio AP 5 Architects has shutters in the facade to open the lower part of the building.
Called La Halle du Robin, the top part of the rectangular building is clad in larch batons, with the exception of one side, which is clad in wood and clear polycarbonate panels.
The lower portion is made up of Corten steel panels, 9 of which can be opened up and secured by steel cables.
The architects intend the appearance of the building to change over time, with the steel turning a deep red colour and the wood darkening with age.
Photographs are © T. Guyenet unless otherwise stated.
More buildings for sports on Dezeen »
More architecture on Dezeen »
The following information is from the architects:
LA HALLE DU ROBIN
Robin Sports Center Hall
Transform the box according to events or seasons. River running in the valley of the Plaine near the town center.
Next to the various buildings, the shape of the frame is based on the lean-to and utilitarian buildings in the vicinity. The roof inclination of the Sports Center is the same as the nearby petanque club’s forming a harmonious whole.
The roofing is of an average height of 4,5 meter. It is supported by a white lacquered steel frame covered with thin strips glued together. A large wooden cantilever portico is maintained by small metallic poles on the other three sides.
A waterproof layer made of steel tanks on the roof and of polycarbonate and larch sheets over the entire upper part of the building.
The façade is covered with wooden lath to shield it from wind and sun. The lower part of the structure is in corten steel sheets over a steel frame closing the building.
The equipment can be moved around from a room to the open space based on needs and seasons. When it is cold the building is shut when there are large events or in warm periods, 9 front panels are opened so as to allow free circulation and open view on the scenery.
This open space configuration makes it easy to see the river and to open up indoor activities outside. The doors are opened and kept open by gas spring struts and secured with a stainless steel cable.
A large sliding door is the final part of the existing building that allows a wide opening of the building on the outside during events.
The simple shape of the building changes with the moveable façades, the materials change appearance and the facing adapting to orientation all changing with the seasons.
The wood and the metal sheets are all from local origin. The gradual evolution of those perishable materials will change the outside aspect of the whole building.
Above photograph is courtesy of the architects
The wood will turn gray and the metal sheets orange. The façades will bear the mark of time.
Above photograph is courtesy of the architects
Materials
Frame: glued strips, galavanized steel + rustproof white paint
Siding: corten steel sheets, polycarbonate and larch panels
Intervenants
– AP 5, Architect and landscaping agency
Architect: Stéphane Lemoine,
Architect collaborator: Toshiharu Kudo
– Team AP 5 with bet 2C (structure, economist), Ouest coordination (construction site)
Click for larger image
– Contractors Section 1: Grennevo, shell / Section 2: Haas Weissrock, structure / Section 3, roofing / Section 4: Mellé, locksmithery /
Click for larger image
Site: Raon l’Etape (department 88)
Program: Space for multiple purposes: Sports training center hall
Click for larger image
Size: 300m2 (3229 sq ft)
Client: Township association of the Vallée de la Plaine
Type of mission: full mission conception and build
Click for larger image
Architect: AP5 architects
Cost: 0.3 million euros
Year: 2010
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| Sports centre by Batlle i Roig Arquitectes | Football Training Centre Soweto by RUFproject | Prefabricated Nature by MYCC |
Still not sure what to do with your left-over Christmas tree? Royal College of Art student Tom Hatfield has turned a few of them into a sledge.
Made from discarded trees Hatfield found around London, the sledge was made using a traditional woodworking technique know as bodging, where wood is worked ‘green’, without drying or seasoning first.
See also: Christmas Tree Furniture by Fabien Cappello (July 2009)
See more bodging on Dezeen here.
Here’s a little text from Hatfield:
Christmas Tree sledge
This Sledge is made from Christmas trees found in on the streets of London. With roughly 1.7 million trees bought for this recent Christmas period, these two-week trees are just discarded every year. With snow in London becoming a more frequent occurrence, it seemed an appropriate item to use for the season.
Using the primitive skills of a bodger, it opens up an inventive feeling of seeing the resources that are around us. People are not as resourceful as they once where. This sledge can give an excitement to a process that can give confidence that appeals to our creative side.
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| Bodging Milano at Designersblock | Inserper-able by Rolf Sachs | Christmas Tree Furniture by Fabien Cappello |
London designer Max Lamb has designed this self-assembly wooden chair for Tokyo furniture brand E&Y.
The title of the product, called Third, refers to the way designer, manufacturer and consumer must each do one third of the required work to create the chair.
The piece forms part of E&Y’s new collection entitled Edition Horizontal.
More about Max Lamb »
More furniture design »
The information below is from Lamb:
This is a 33/33/33 project, where the designer and manufacturer constructing all the components, and the consumer assembling the chair at home, are equally involved in the completion of the piece.
People used to be much more resourceful, but nowadays we have become lazy, less confident, or even lost the practical knowledge entirely. This is very sad.
I would like to encourage people to re-discover their ability for building furniture and regain the confidence to work with tools. Giving the consumer a certain volume of responsibility, is for them to regain confidence. “third” is a project reflecting these ideas.
material : spf
size : W.380 x D.525 x H.794
manufacturer : E&Y
release : winter, 2010
edition HORIZONTAL / E&Y
A multiple is an object. An object meaning something. Objects inherit their true values, meanings, and often provide mental satisfaction when taken in one’s hand. Without prioritizing function, to give the joy to possess, by creating an object appealing to one’s inner depth.
And to give a view, a horizon, where various people and objects are connected side by side. “edition HORIZONTAL” is a new collection and an announcement made by E&Y in collaboration with various designers.
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| Anodised table by Max Lamb for Deadgood | Sedia 1 – Chair by Enzo Mari | 2440×1220, Saw, Assemble by Pål Rodenius |
American designer Louie Rigano has created a range of teapots that combines mass-produced wooden handles and lids with individual hand-thrown bodies.
The body of the pot is made of unglazed clay and each one will be unique.
The lid of the vessel also forms a cup.
Rigano designed the teapot while living in Japan for a year.
Here are some more details from the designer:
“A series of teapots questioning perfection as an end-goal and exploring the relationships between textures and between mass-production and handmade.
The parts of the teapot that one comes into contact with are streamlined, smooth, and easily mass-produced. The body, however, is handmade and wheel-thrown, unglazed and rough. The unglazed ceramic body is easily capable of becoming well-seasoned after repeated use; which is a prized quality found in old teapots.
The wooden fixtures, which get handled, are able to develop a richly aged surface and patina after repeated use.
The lids, which also serve as teacups, and the handles, both made of oak, are a standard size and shape and can be produced in multiples in industry with ease. The ceramic body is thrown by a potter who simply must make the rim and handle plug the same standard size.
Besides these two requirements, the potter has complete artistic freedom to create the teapot in any shape or dimension.”
I’m originally from New Jersey, though I have been awarded a Fulbright grant and I am currently studying and travelling in Japan for a year.
My focus is on traditional Japanese design philosophy and aesthetics, and their role in modern design and culture. During the course of the year I am designing and fabricating objects that will not only pay homage to Japan’s history, but integrate and rework the precepts of these traditional aesthetics into products designed for mass production in the current age.
This I hope will provide an alternative point of view to the heavily globalized design world. My work deals with pared down ideals. I seek a thoughtful and occasionally humorous meditation on contemporary notions of luxury, utility, and cultural values, conveyed by the most direct and simple means.
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| Tea pot by Lee West for Eno | Tea pot by Designerette | Tea pot by Patrick Frey |
Dutch graduate designer Carolien Laro has designed a range of stools with flexible seats created by cutting slits into their solid wood tops.
Above: Restless Legs
Called Springwood, the collection includes a three-seater bench and three stools, one on wheels, one without and another with folded steel legs, all with pliable wooden seats.
Above: Original
Each seat requires 480 CNC-milled cuts.
Above: The Paperclip
Above: The Bridge
The following information is from manufacturers Ritmeester:
Spring Wood., developed by Carolien Laro, a graduated student at the Arts Academy St Joost and Amsterdam Wood and Furniture College.
Carolien searched for the limits of wood…. with great success! Carolien wanted to bring two contradictions of wood together: rigidity and flexibility. She succeeded, with the background of a party garland in mind.
Because our company does like to stimulate young talent we offered Carolien the opportunity to develop her concept of Spring Wood to a ‘ready to sell’ piece of furniture.
That seems simple but it is not. Carolien invested more than 600 hours (!) in the development of her hand made first prototype. So much work in one small stool is commercially not feasible so every technical detail had to be developed for the real production of her idea.
It was quite a journey and during 2010 she worked hard to developed a few versions of Spring Wood, apart from the original version’: These are: The Paperclip, Restless Legs and The Bridge.
Carolien was very successfull with her idea: she won the Wood Challenge Prize as well as a nomination for the IMI Award as well as the DOEN material prize.
Spring Wood seems very simple but it isn’t: it is very complex and laborious. Selecting the right ashwood and machining it. The glueing process followed by the CNC sawing: in total more than 480 CNC groove-milling steps are necessary for one ‘wooden pillow’….
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| Rubber Stool by h220430 | Flex by Georgi Manassiev | Soft Oak chair by Pepe Heykoop |
Industrial-era building materials reclaimed to make a modern furniture line
Creatively crafted, Made of New York furniture is comprised of discarded Manhattan lumber and is constructed using as few machines as possible. The simple, geometric collection was conceived by former creative director of Ikea Sweden and current head of strategic design consultancy Daytime Projects, John-Michael Ekeblad, along with furniture designer Jonathan Locke and timber-sourcing expert Brian Kane—a trio as intelligent as the home furnishings they build in their South Bronx studio.
The process begins with sourcing the wood, much of which comes from torn down 19th-century buildings. In determining the use for each part the team aims to have “minimal treatment of the wood in favor of sustaining its naturally worn out beauty and charm.” The resulting pieces are each completed within five to ten days, using water-based stains and sealers and wood plugs whenever necessary.
Made of New York is currently finding a retailer to house the collection, but until then pieces sell online from New York City Snaps, with prices spanning $220-1,200.
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