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Close up of the process of the brief case opening up/ different stages. (Demonstrate the mechanics/ the transformation from the brief case to the pop up bed. Alteration of forms.

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More practical work

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- Protection Armour
- Lucy Orta - Look into her work. (Living architecture)
- Look into different sorts of materials    that you can use. (Maybe transform into an alternative form)
-Think about the type of textures and colour for my work

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As the name suggests the wearable sleeping bag is a combination down coat and standard sleeping bag that allows you to move about the campsite in cozy comfort. Like any standard sleeping bag it packs away into a stuff sack when you're not using it. Although you're likely to wind up using it a lot more than you imagine. Below we present our choices for the 8 best wearable sleeping bags on the market today.

The Best Wearable Sleeping Bag

Wearable Sleeping Bag Buying Guide & FAQs

What to Consider When Buying a Wearable Sleeping Bag

While selecting the right wearable sleeping bag isn't like choosing a bag for your Everest expedition the qualities you're looking at are essentially the same: temperature rating, size, comfort, durability, waterproof capability and to a lesser degree, weight. The one area where wearable bag considerations will diverge significantly from extreme bag considerations is in mobility. Here's a quick rundown of the various considerations.

Temperature rating - Due to the nature of their mission the design of the wearable bag is going to be limited in how effective it will be at lower temps. Almost all are 3 season bags and most have an effective rating of around 40 Fahrenheit, with some able to handle slightly colder temps. In general though these are recreational bags and should be thought of that way. For extreme mountaineering you'll want something more traditional.

Size - When it comes to the walking sleeping bag sizing is a slightly different animal than it is with traditional bags. That said you'll want one big enough to accommodate you comfortably from head to foot once you are fully enveloped by the bag. However, you don't want the bag to be so big you're flopping around inside or so small you feel the hood pulling down on your head while you're trying to sleep. Keep in mind too that size can sometimes differ from manufacturer to manufacturer so it might be worth your while to peruse customer comments to see what different people say about the sizing of a particular bag.

Comfort - Making sure you buy the right size bag is vital to ensuring comfort. But there are other things to look for as well. Are there detachable booties? Are there draft tubes that minimize air infiltration? Are the zippers two way and do they seal effectively, or are they lose and drafty? Can you get your arms in and out of the bag easily? Is the shell at least water resistant even if it's not entirely waterproof? Is the bag comfortable when you're sitting? What about when you're walking?

Weight - When you're heading into the wilderness on foot you need to be aware of every ounce you're going to sling on your back. So if you intend to pack one of these bags away in your backpack for a long hiking excursion or hunting expedition you're going to want the lightest bag you can find that will also meet your temperature requirements. If you're like most people however, your wearable bag is never going to leave the roadside campground or state park. As such the weight of the bag is not really a primary consideration. The same goes for compression as well. If you're taking the bag on a trek you'll want to be sure it stuffs down into a tight little bundle. If you're not going to do serious hiking with it how big or small the stuff sack is doesn't matter all that much.

Mobility - This is the one area where the wearable bag is unique. You buy a bag like this specifically because it will allow you to get around in the campsite while you're wearing it. Therefore you don't want one that's going to impinge on your movements. Standing, walking and sitting should be hassle free experiences. If the bag is going to restrict your movements it's more than a little self-defeating.

Wearable Sleeping Bag FAQs

Q: Why Are Wearable Sleeping Bags A Good Choice For You?

A: A wearable sleepsuit like this is designed to optimize your recreational camping experience. The concept and design is based on years of input from ordinary campers who have stated over and over again what a drag it is to have to leave the comfort of the sleeping bag behind to make a trip to the outhouse or just to sit at the picnic table late in the evening and enjoy a cup of tea. At the end of the day it's all about versatility so the wearable sleeping bag is part coat, part bag and the best do an admirable job fulfilling both functions.

Q: Are Wearable Sleeping Bags Machine Washable?

A: Many a wearable sleeping bag is indeed machine washable. But just because some can be washed in the machine doesn't mean it should be washed in the machine after every use. In general, even if you use the bag regularly, you shouldn't wash it more than once a year. If you do your insulation will lose loft and be rendered fairly useless. If you are not sold on the idea of washing your wearable bag yourself there are a number of bag cleaning services available via the Internet that will clean your bag for you.

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8 Best Wearable Sleeping Bags in 2020 [Buying Guide] - Gear Hungry

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As the name suggests the wearable sleeping bag is a combination down coat and standard sleeping bag that allows you to move about the campsite in cozy comfort. Like any standard sleeping bag it packs away into a stuff sack when you're not using it.

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Pit zips are the ventilation zippers offered on many hard-shell jackets. They are usually located right at the armpit or close to it, from which they get their alliterative name. Should you look for jackets that have this feature?

When you are hiking, climbing, running, or working outdoors, you can produce sweat, even in cold weather. Jackets for active outdoor use are designed with ventilation to let perspiration out as well as to let air in to help dry the skin. Some jackets have vents across the back to allow air in, and some also have zippers in the armpits to allow you to adjust the air flow.

If your perspiration can't escape from the jacket, you could end up drenched and shiver in your own sweat. If you're wearing a jacket that has a hard shell and isn't breathable, there is no airflow to carry away some of that moisture. Even if the jacket does an otherwise excellent job of keeping rain, snow and other bad weather at bay, you are the one producing the moisture inside your own jacket. You get wet from the inside out instead of the outside in.

If you're working hard enough to sweat but the weather keeps you from shedding or opening your jacket, you just open the pit zips instead. You might want to open them a bit as soon as you are warmed up, to keep your body just slightly cool with the ventilation.

If it is raining, you might need to keep the pit zips closed to keep out the weather, especially if it is windy. Another consideration is that you should always close the pit zips before raising your arms overhead when it's raining. Otherwise, the rain can funnel right down the sleeves of the jacket and into the open pit zips. That's a cold surprise you'll want to avoid.

Another oddball problem of having pit zips is that you might mistake them for pockets, especially if your jacket has vertical zippered pockets on the chest. You might think you're stashing an important item in the pocket, but instead, you are dropping it right down the inside of your jacket. Often, that means it is going to drop onto the trail unnoticed and you'll lose it.

Although they were once ubiquitous on good quality hard-shell jackets, pit zips are becoming less common. Gear manufacturers are zeroing in on how to build more breathable shells without sacrificing on weatherproofing. When they think they are providing enough airflow for ventilation, they don't include the complication of pit zips in the design. After all, this is a weak point and one more thing that could break. They prefer a sleek and less complicated design if they can make it work.

You'll still find pit zips on quite a few jackets because they give you more flexibility in terms of venting. Look for designs with pit zips if you have problems with sweating more than the breathable shell can handle.

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What Are Pit Zips and Why Are They Still Around?

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Pit zips are the ventilation zippers offered on many hard-shell jackets. They are usually located right at the armpit or close to it, from which they get their alliterative name. Should you look for jackets that have this feature? When you are hiking, climbing, running, or working outdoors, you can produce sweat, even in cold weather.

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- Research wearable sleeping bags
- Paper mash but fabric
-Iron materials through for e.g old shirt.
- Visualisation of flexible furniture.
- Stop frame animation of the stick man using the furniture.

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How to make an origami chair step by step.

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How to Make a Paper Bed - Easy Tutorials

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Tutorial for Origami Navel Shell designed by Tomoko Fuse

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*Do more optical illusion drawings
*Escher / Research Optical Illusion artist
*Nature shelters
*Research optical illusions furniture
*Take a more fine art approach
*Use more softer/malleable materials to create the origami
*Scale model making - Tate Modern
*Multiple mini-pops within the pop-up

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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*Bullet point draft of the proposal
*Join Foundation teams - 1 pm call - Group discussion
*Start collecting - Experimental work
*Create a solar system for your practical work.
Do a draft of your project proposal.

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People have always been completely fascinated by the way in which optical illusions trick the eye. Optical illusion designs are particularly 'in vogue' at the moment, and they're influencing the world of furniture design in an incredible way. Just like these 10 amazing and impressive creations, which have all been created by accomplished designers and crafts people from across the globe. We're loving the 'flying carpet' coffee table! Check them out!

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10 Incredible Pieces Of Optical Illusion Furniture That Will Make Any Room Unique

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Optical illusion designs are particularly 'in vogue' at the moment, and they're influencing the world of furniture design in an incredible way. Just like these 10 amazing and impressive creations, which have all been created by accomplished designers and crafts people from across the globe. We're loving the 'flying carpet' coffee table!

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Charles Eames, born 1907 in St. Louis, Missouri, studied architecture at Washington University in St. Louis and designed a number of houses and churches in collaboration with various partners. His work caught the attention of Eliel Saarinen, who offered him a fellowship at the Cranbrook Academy of Art in Michigan in 1938. In 1940, he and Eero Saarinen won first prize in the 'Industrial Design Competition for the 21 American Republics' - also known as 'Organic Design in Home Furnishings' - organised by the Museum of Modern Art (MoMA) in New York. Eames was appointed head of the industrial design department at Cranbrook the same year.Ray Eames was born as Bernice Alexandra Kaiser in Sacramento, California, in 1912. She attended Bennett College in Millbrook, New York, and continued her studies in painting at the Hans Hofmann School of Fine Arts until 1937. During this year she exhibited her work in the first exhibition of the American Abstract Artists group at the Riverside Museum in New York. She matriculated at the Cranbrook Academy of Art in 1940.Charles and Ray Eames married in 1941 and moved to Los Angeles, where together they began experimenting with techniques for the three-dimensional moulding of plywood. The aim was to create comfortable chairs that were affordable. However, the war interrupted their work, and Charles and Ray turned instead to the design and development of leg splints made of plywood, which were manufactured in large quantities for the US Navy. In 1946, they exhibited their experimental furniture designs at MoMA. The Herman Miller Company in Zeeland, Michigan, subsequently began to produce Eames furniture. Charles and Ray participated in the 1948 'Low-Cost Furniture' competition at MoMA, and they built the Eames House in 1949 as their own private residence. In addition to their work in furniture design and architecture, they also regularly turned their hand to graphic design, photography, film and exhibition design.In 1957 Vitra signed a licence agreement with Herman Miller and began producing the Eameses' designs for Europe and the Middle East. Charles and Ray Eames have had a profound and lasting influence on Vitra. It was the encounter with their work that spurred the company's beginnings as a furniture manufacturer. Yet it is not just the products of Charles and Ray Eames that have left a mark on Vitra. Even today, their design philosophy continues to significantly shape the company's values, orientation and goals.This seminal influence is most clearly reflected in the question that is always asked at Vitra when making important design decisions: What would Charles and Ray say? Over the course of their shared lifetime, the couple gave their answers during trips to Europe and return visits to California. Since the death of Charles (1978) and Ray (1988), Vitra has remained in close contact with the Eames family, which now runs the Eames Office, regarding all matters concerning the preservation, further development and production of Eames designs. Vitra is the sole authorised manufacturer of Eames products for Europe and the Middle East. When you own an Eames product made by Vitra, you know it is an original. Furniture by Charles and Ray Eames has been a cornerstone of the Vitra Design Museum collection since its inception. A major part of the objects in the couple's estate was received in 1988. After presenting the exhibition 'The Work of Charles and Ray Eames' in 1997/98, the Vitra Design Museum is now holding a comprehensive retrospective of the couple's lifework in 2017/18 entitled 'An Eames Celebration', divided into four parallel exhibitions on the Vitra Campus in Weil am Rhein. To mark the occasion, the Vitra Design Museum has published the 'Eames Furniture Sourcebook' and 'Essential Eames: Words & Pictures'.

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Charles and Ray Eames are counted among the most important figures of twentieth-century design. Their work spans the fields of furniture design, filmmaking, photography and exhibition design. Vitra is the sole authorised manufacturer of Eames products for Europe and the Middle East. When you own an Eames product made by Vitra, you know it is an original.

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Charlotte Perriand biography, artworks and interior design projects. Find out more on Cassina's website.

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designboom | architecture & design magazine

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lim + lu and CL3's pushcarts are multi-use hybrid furniture systems

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each piece is a hybrid; a modular urban element that functions as a kind of infrastructure, mated to a customized artifact specific to particular program.

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Lim and Lu is a multi-disciplinary design practice based in Hong Kong with an emphasis on innovative product and furniture design handmade with exquisite techniques. Live differently. Lim + Lu - Vincent Lim, Elaine Lu.

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Since the mid-1990s, Sarah Morris has been making abstract paintings and films to investigate what she describes as "urban, social and bureaucratic typologies". These works, based on different cities, are derived from close inspection of architectural details combined with a critical sensitivity to the psychology of a city and its key protagonists.

Morris began her career making graphic paintings that adapted the dramatic, emotive language used in newspaper and advertising tag lines. Her city-based paintings are executed in household gloss paint on square canvases, employing rigorous, all-over grids that reference architectural motifs, signs or urban vistas. Their vivid colours derive from each city's unique vocabulary and palette, but, most importantly, its dynamic. In her film work, Morris both seduces and alienates the viewer, employing different kinds of cinematography, from documentary recording to seemingly set-up narrative scenarios. In her film Los Angeles (2005), for instance, Morris explores an industry fuelled by fantasy and examines the trenchant relationship between studio, producer, director and talent. In Capital, part of Morris' series about Washington DC, Morris gained unprecedented access to the inside workings of Clinton's last days in office.

Following Los Angeles, Morris embarked on more intimate portrait films, such as Robert Towne (2005) and 1972 (2008), which shift the viewpoint from the panorama of a city to an individual portrait of one of its protagonists, as a way of examining it from the inside out. Following these works, Morris made Beijing (2008), a film about one of the most intricate and ambiguous international broadcasted events of past years - the 2008 Olympic Games.

Morris's more recent series of work about Rio de Janeiro depicts the multifarious and complex layers of this most contradictory of cities, from its highly orchestrated and eroticised surface image, to its vast urban sprawl. In the new series of Rio paintings (2012-13), Morris both expands and reduces her abstract compositions, and in the Rio film (2012), images of the city's beaches, fruit stands, hospitals, iconic modernist architecture, football stadiums, factories and favelas are combined with images from the office of Oscar Niemeyer, the mayor of Rio and the parades of the city's famous Carnival.

In 2014, Morris's focus shifted to Paris in the film Strange Magic, in which the artist explores a wide spectrum of narratives that operate under the umbrella of the Louis Vuitton Moet Hennessy conglomerate. Commissioned for the opening of the Fondation Louis Vuitton in Paris, the film, like Morris's paintings, looks to decode the built environment, exploring cultural, economic and social typologies. Deconstructing the machinery behind France's most desired commodities - champagne, perfume, fashion - the artist probes concepts of national identity and the inherent fantasy in the pursuit of luxury. As Morris has said of the work: "It all comes down to production. The production of space, the production of brands, the production of art. The production of dreams and desire, paradoxically intangible at the end of the day."

Sarah Morris was born in 1967 in the UK and lives and works in New York. She has exhibited extensively including solo exhibitions at Ullens Center for Contemporary Art, Beijing (2018); Espoo Museum of Modern Art, Finland (2017); M Museum, Leuven, Belgium (2015); Kunsthalle Bremen, Germany (2013); Wexner Center for the Arts, Columbus, Ohio (2012); Fondation Beyeler, Basel, Switzerland (2008); Museum Boijmans van Beuningen, Rotterdam (2006); Palais de Tokyo, Paris (2005); Hamburger Bahnhof, Berlin (2001); and Modern Art Oxford, UK (1999). Group exhibitions include Solomon R. Guggenheim Museum, New York (2017); Tate Triennial, Tate Britain, London (2003); 25th Bienal de São Paulo (2002); and 4th Site Santa Fe Biennial, New Mexico (2001).

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Since the mid-1990s, Sarah Morris has been making abstract paintings and films to investigate what she describes as "urban, social and bureaucratic typologies". These works, based on different cities, are derived from close inspection of architectural details combined with a critical sensitivity

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Tomoko Fuse (布施 知子, Fuse Tomoko, born in Niigata, 1951) is a Japanese origami artist and author of numerous books on the subject of modular origami, and is by many considered as a renowned master in such discipline.

Fuse first learned origami while in the hospital as a child. When she was 19 years old, she studied for two and a half years with origami master Toyoaki Kawai. She started publishing origami books in 1981, and has since published more than 60 books (plus overseas editions) as of 2006. She has created numerous origami designs, including boxes, , paper toys, masks, modular polyhedra, as well as other geometric forms and objects, such as origami tessellations, with publications in Japanese, Korean and English. She now resides with her husband Taro Toriumi, a respected woodblock printmaker and etcher, in rural Nagano prefecture, Japan.

Unit Origami: Multidimensional Transformations, the English language edition of her seminal modular origami inventions, may be considered the classic text on modular origami available in the English language.

In English:

In Japanese:

In Italian:

Origami Modulare (Italian version of Japanese Yunnito Origami), Il Castello Publishers, (1988)

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Tomoko Fuse (布施 知子, Fuse Tomoko, born in Niigata, 1951) is a Japanese origami artist and author of numerous books on the subject of modular origami, and is by many considered as a renowned master in such discipline. Fuse first learned origami while in the hospital as a child.

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Jeppe Hein is a contemporary Danish artist whose interactive works combine different elements of architecture and art for the viewer to confront. By employing materials such as mirrors, balloons, and benches, Hein invites spectators to activate the exhibition space. "I want to show that the work isn't anything on its own, it is only what the public informs it with. The viewer's role brings the piece to the center of attention," he has explained. Born in 1974 in Copenhagen, Denmark, he studied at both the Royal Danish Academy of Art and the Städelschule in Frankfurt at the start of his career. Hein's sense of playfulness towards the history of both Minimalist sculpture and Conceptual Art can be seen in his use of mazes and movable sculptures, which balance humor with structure. In 2008, he collaborated with the American artist Dan Graham to install a temporary pavilion in Cologne. Hein currently lives and works between Berlin, Germany and Copenhagen, Denmark. Today, his works are held in the collections of the Centre Georges Pompidou in Paris, the Museum of Contemporary Art in Los Angeles, and the Tate Gallery in London, among others.

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Jeppe Hein is a contemporary Danish artist whose interactive works combine different elements of architecture and art for the viewer to confront. View Jeppe Hein's 133 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices.

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designboom | architecture & design magazine

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casa ojalá, the transportable home with 1,000 configurations, available for pre-order

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casa ojalá is expressive of a sailboat construction, designed from a manual mechanical system of ropes, pulleys, and cranks.

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Using its own London office as a case study, architecture firm Gensler has created a modular furniture range for Fantoni in response to a trend for more flexible and collaborative workplaces. More

Keep your eye on architecture and design projects that twist and turn on this week's new Pinterest board, including animated houses, spinning walls and furniture that pulls down from ceilings. Follow Dezeen on Pinterest › More

LUO Studio has designed a tiny 9.6-square-metre office in Beijing, with seven movable desks so that it can be transformed from an office into an amphitheatre-style presentation room. More

Swiss company Moving Walls has extended its range of activity-based office furniture with a table that can also be used as a presentation panel for the wall. More

MIT Media Lab has partnered with designer Yves Béhar on a smart furniture system for micro apartments, which can turn the space into a bedroom or living room at the touch of a button (+ movie). More

Dutch design studio PolyLester has created a collection of furniture on wheels that is used to transform an industrial hangar into a venue for exhibitions, workshops, dinners or parties (+ slideshow). More

PKMN Architectures has renovated an apartment on the Spanish coast, adding modular storage walls that spin around to create extra bedrooms for guests (+ movie). More

The new Stockholm office of energy drink company Red Bull incorporates a range of flexible communal spaces, including a reception with a modular desk that can be reconfigured for use as a bar in the evening (+ slideshow). More

Stockholm 2015: a trio of designers created this armchair for Swedish furniture brand Blå Station that can be wheeled around on small castors. More

A mezzanine hammock, an adaptable seating cube on wheels, and a combined staircase and bookshelf have been added to this play and study space for a brother and sister, designed by Russian studio Ruetemple (+ slideshow). More

Fold-down desks and mobile workstations allow Australian firm Particular Architects to regularly reconfigure the layout of their studio space in Melbourne (+ slideshow). More

Wooden boxes on wheels fold open to reveal beds inside this minimal apartment in Bolzano, Italy, by Harry Thaler Studio (+ slideshow). More

The resident of a compact apartment in Madrid demonstrates how she can rearrange walls and pull furniture out of the ceiling in this movie by photographer and filmmaker Miguel de Guzmán. More

Beijing Design Week 2011: Beijing architect Naihan Li presented crates that unfold to become a collection of furniture at a pop-up disco lounge for Beijing Design Week. More

Stockholm 2011: Stockholm designer Axel Bjurström will present a collection of furniture including these wheeled side tables as part of the Greenhouse exhibition of work by young designers at Stockholm Furniture Fair next week. More

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Using its own London office as a case study, architecture firm Gensler has created a modular furniture range for Fantoni in response to a trend for more flexible and collaborative workplaces. More Keep your eye on architecture and design projects that twist and turn on this week's new Pinterest board, including animated houses, spinning walls and furniture that pulls down from ceilings.

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Walk into any city-dwelling twenty-something's apartment and you can be assured of one thing: You will find something from Ikea. The Swedish purveyor of furniture is synonymous with a certain period in our lives, a time when we're too poor and too space-limited to buy expensive investment pieces. It's not exactly a negative connotation, but there's a sense that Ikea is starter furniture, something to be upgraded from once we get a bigger apartment and more money.

Even though Ikea furniture has become the de facto choice for small-apartment interior decorating, its furniture hasn't traditionally been designed for that purpose-a fact that becomes glaringly clear when you try to carry an Expedit up five flights of stairs.

But a new special collection from the company is designed specifically with young urbanites in mind. The PS 2014 "On the Move" collection is made up of 51 items that bend to the whims of the average millennial with a shoebox apartment and wanderlust.

>Nearly 60 percent of young American city dwellers plan to move within the next two years.

Last year, the company conducted a global survey to figure out how people are living today and made a couple of key discoveries: Nearly 60 percent of American city dwellers, between the ages of 18-29, plan to move within the next two years. And more important yet? For the first time ever, more people live in cities than they do in rural areas.

Keeping those things in mind, Peter Klinkert, Ikea's project manager for special collections, tapped 14 designers from around the world to come up with pieces that cater to people living with less space. "Right now we felt like organization, flexibility and the small spaced living is getting more and more relevant and important," Klinkert explains. "If you notice, there are no sofas or big chairs," he continues. "This isn't about the core basics, it's about what are the additional needs and the multifunctional needs in order to make a home work?"

The items in the collection work around core pieces, filling in the perpetually blank spaces in our apartments like corners, hallways and bare floors. There are stackable plastic containers that double as a side table, and a side table that doubles as a lamp. A series of simple wooden boxes can be piled on top of each other to create a flexible, shape-shifting storage system, and a floor lamp acts like a paper holder thanks to little slits in the shade.

It's certainly one of Ikea's smartest collection yet, thanks to its focus on multi-tasking. You can easily imagine any of these pieces being schlepped from a 10x10 dorm room one year to a tiny first apartment next. Just to be sure, Ikea brought in 20 design students from Copenhagen to assess how relevant the products were to their lives. They narrowed 150 products down the the 51 in the final collection.

In the commercial for On the Move, you see a handful of smiling youths carrying their newly purchased Ikea goods home. A girl bikes through the street with a lamp; another rides a trolly with a side table; a pair of friends, wrapped in a comforter, hold a glowing lamp table while riding a ferris wheel at twilight. It's obviously an exaggeration. You'll want a car or at least a shipping service to get most of these pieces home, but the message is clear: Ikea doesn't want to be your throwaway furniture-it wants to go wherever you go.

The On the Move collection goes on sale April 1.

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Ikea's New Portable Furniture Is a Smart Take on Modern Urban Life

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Walk into any city-dwelling twenty-something's apartment and you can be assured of one thing: You will find something from Ikea. The Swedish purveyor of furniture is synonymous with a certain period in our lives, a time when we're too poor and too space-limited to buy expensive investment pieces.

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Taking your couch or chair with you to a friend's place or on the road is often an unrealistic request, but these conveniently portable furniture designs are making that dream a reality.

With furniture pieces often being too heavy and large to move once placed in your home, utilizing them in other spaces is often an unreasonable request. These portable furniture designs however, feature miniature structures and clever compact features that will allow any homeowner the opportunity to transport these pieces from one place to another. From side tables that can conveniently fold onto itself to stools that you can easily pick up and carry with you, these portable designs will offer you some diverse options when it comes to moving your furniture around.

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Taking your couch or chair with you to a friend's place or on the road is often an unrealistic request, but these conveniently portable furniture designs are making that dream a reality. With furniture pieces often being too heavy and large to move once placed in your home, utilizing them in other spaces is often an unreasonable request.

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Colors are one of the first things we learn in school. Understanding the basic primary colors and how they blend is an activity found in most elementary school classrooms, but that's just one piece of a much larger field known as color theory.

Used by painters, graphic designers, interior decorators, and anyone working in visual culture, color theory is an essential part of any creative's toolkit. By understanding the principles of color and the science behind how we perceive different hues, creatives are able to mix, match, and blend a wide range of colors to please the eye.

The History of Color Theory
While it may seem like standard theories about color have always existed, that's not the case. Of course, colors like blue have been around since ancient times, when the Egyptians learned how to create permanent pigments from minerals. Even Leonardo da Vinci explored color principles in his extensive notebooks. However, it wasn't until the 18th century that color theory began to formally take shape.
Initial explorations in color were from a scientific point of view. Isaac Newton, in his 1704 book made a breakthrough in proving that light was made of different colors. Controversial at the time-as it was thought that pure light was colorless-his experiments became important stepping stones for color theory. He even organized an early color wheel based off of the color combinations he saw when refracting light through a prism.

Later publications, The Theory of Colours by German poet Johann Wolfgang von Goethe and The Law of Simultaneous Color Contrast by French chemist Michel Eugene Chevreul, are considered the founding documents of color theory. Published in the early 19th century, they deal with color psychology and chromatic aberration, and they further refined the color wheel.

At that time, color theory was based on RYB primary colors, which defined red, yellow, and blue as the colors capable of mixing all hues. This is the scheme most commonly taught in grade school and is still used in mixing paints. Later scholars would switch to an RGB (red, green, blue) and CMY (cyan, magenta, yellow) models as advances in technology increased the range of synthetic pigments in photography and printing.

The 19th century brou'ght about many books on color theory and how it can be applied to the visual arts. Authors often looked to nature for the hues and tones that make up the color wheel and their publications are still coveted color manuals today. For instance, Werner's Nomenclature of Colours, which is also available online, was used by Charles Darwin as a scientific tool. First published in 1814, each color was given a poetic name like "Velvet Black" and it listed where the color is found in nature.

By 1901, when Emily Noyes Vanderpoel wrote her revolutionary color manual Color Problems she incorporated industrial items into her research. Vanderpoel looked at everything from teacups to plants and used grids to break down the colors found in each object.

Today, color theory is all around us. Let's take a look at some of the basic terminology and principles to help you make the best color choices for your next creative projects.

Primary Colors

Primary colors are hues that can be mixed to produce a wide gamut of colors. As we've already learned, there are different sets of primary colors depending on what mixing model you are using. Most of us are familiar with the red, yellow, and blue (RYB) primaries, which is taught to children when they are acquiring basic art skills. These are still the primaries that most painters, artists, and interior designers use today. The RYB model is an example of a subtractive color model. Subtractive mixing is when inks, colorants, or pigments form new colors by absorbing some parts of the visible spectrum.

Cyan, magenta, and yellow (CMY) are also subtractive primaries. Typically used in color printing, traditional red and blue were substituted with magenta and cyan over time as technology advanced and these pigments allowed for a wider range of colors. CMYK is also the name for the printing process itself, with the K standing for "key ink." This is typically a black that helps pull out artistic detail, as the black achieved by mixing the three primaries is more grey.

The last model used is the red, green, and blue (RGB) system. RGB is an additive color model, which begins with darkness and uses different colors of light mixed together to achieve white. We most commonly see this model on computer and television screens. Photographers will also be quite familiar with working with an RGB color profile when editing images to be used online and switching over to a CMYK color profile when printing.

Next up: Learn about the theory behind the color wheel and how to use it to create harmonious color palettes.

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Learn How Color Theory Can Push Your Creativity to the Next Level

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Colors are one of the first things we learn in school. Understanding the basic primary colors and how they blend is an activity found in most elementary school classrooms, but that's just one piece of a much larger field known as color theory.

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Color Theory for Designers, Part 1: The Meaning of Color — Smashing Magazine

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Let’s dive into color theory. We’ll discuss the meanings behind the different color families, and give some examples of how these colors are used.

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Homelessness is on the rise in London.

Recent RICS market research revealed that the UK faces a 1.8 million shortfall of rental properties by 2025. That chronic shortage of housing stock is forecast to push rents 25% over the next five years, followed by house prices at around 18%. Combine that with the government's recent end to the under-25 housing benefit, and many could find themselves unable to afford a home.

While developers work to deliver more stock, architect James Furzer is trying to make the City more comfortable for those who sleep rough.

Furzer has been involved in the fight against homelessness for years. His most recent project is a study of 'defensive' types of public benches in London used to discourage homeless people from loitering - features like spikes, arm rests, uncomfortable slats, sloped bases or awkward shapes.

Whilst city councils and zoning codes may encourage hostile architecture, Furzer believes it is the responsibility of architects to be more welcoming.

"There are many underlying political issues that need to be addressed before the issue of homelessness can seriously be addressed in the manner it requires," Furzer said. "However, as architects, we have a duty of care to provide shelter for those who need it. I feel that architects can help by battling against the design guide and councils that want to design the undesirables out of their towns. We can provide temporary shelters, cityscapes that perhaps provide shelter within them."

Furzer suggests a cityscape that creates crevices of comfort, shelters that do not deter, sleeping surfaces that provide security. To that end, he has designed homeless pods.

Homeless pods are conceptual lightweight modular shelters that attach to existing buildings and allow homeless people protection from the elements.

"The ability for one to shut himself off from the public and have privacy is an element taken for granted. Rough sleepers are constantly in the public eye with no front door to close. Through this, they tend to shut a mental door. I aim to provide them with a space for contemplation and privacy. A place where these mental doors can be opened, taking them out of the public eye for a brief moment in time, making them feel human again," Furzer said.

Not surprisingly, developers have been less than enthused about the pods because they will likely decrease property values. But many individuals have offered help and he is try to self-fund a prototype.

Turning his focus to public realm, Furzer's newest project is documenting benches seemingly for the public, but which are explicitly created to repel homeless from using them to rest. Two egregious examples are outside of the Royal Courts and Camden Bench.

"The benches show a lack of the designer's duties being undertaken, hidden behind the noted façade of functionality. A case of: 'Who do we want here, and who do we not want here?'" Furzer said. "I can wholeheartedly say that defensive architecture exists on an unprecedented level, and is sadly on the rise. We require a friendlier architecture to change the current perception of homelessness."

Other hostile architecture that is particularly pernicious is the usage of spikes on benches, in front of warm air vents and under shelters that could potentially shelter someone from the London rain. Furzer has supported innovations like providing mattresses and micro bookshelves over the spikes.

"Beautifully ironic, the bookshelves were home to several books relating to architecture and urban design, a temporary public library in a sense. As a temporary solution, this works. It does, however, allow these items to be removed simply by the landowner ... As for highlighting the issue, it had brought great attention. I do feel, however, a more permanent solution is required."

Most people do not stop to think just how much of the city is designed to control them. This hostile architecture is all over, Furzer said.

"Bus stops have slanted platforms you can perch on but not sit on. Barriers are placed on walkways. It sends a visual message and has a real-life impact. You aren't free anymore. You're limited by what and where a planner or corporation says you can go."

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How One Architect Is Innovating To Combat Homelessness In London

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Homelessness is on the rise in London. Recent RICS market research revealed that the UK faces a 1.8 million shortfall of rental properties by 2025. That chronic shortage of housing stock is forecast to push rents 25% over the next five years, followed by house prices at around 18%.

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Homelessness is on the rise in London.

Recent RICS market research revealed that the UK faces a 1.8 million shortfall of rental properties by 2025. That chronic shortage of housing stock is forecast to push rents 25% over the next five years, followed by house prices at around 18%. Combine that with the government's recent end to the under-25 housing benefit, and many could find themselves unable to afford a home.

While developers work to deliver more stock, architect James Furzer is trying to make the City more comfortable for those who sleep rough.

Furzer has been involved in the fight against homelessness for years. His most recent project is a study of 'defensive' types of public benches in London used to discourage homeless people from loitering - features like spikes, arm rests, uncomfortable slats, sloped bases or awkward shapes.

Whilst city councils and zoning codes may encourage hostile architecture, Furzer believes it is the responsibility of architects to be more welcoming.

"There are many underlying political issues that need to be addressed before the issue of homelessness can seriously be addressed in the manner it requires," Furzer said. "However, as architects, we have a duty of care to provide shelter for those who need it. I feel that architects can help by battling against the design guide and councils that want to design the undesirables out of their towns. We can provide temporary shelters, cityscapes that perhaps provide shelter within them."

Furzer suggests a cityscape that creates crevices of comfort, shelters that do not deter, sleeping surfaces that provide security. To that end, he has designed homeless pods.

Homeless pods are conceptual lightweight modular shelters that attach to existing buildings and allow homeless people protection from the elements.

"The ability for one to shut himself off from the public and have privacy is an element taken for granted. Rough sleepers are constantly in the public eye with no front door to close. Through this, they tend to shut a mental door. I aim to provide them with a space for contemplation and privacy. A place where these mental doors can be opened, taking them out of the public eye for a brief moment in time, making them feel human again," Furzer said.

Not surprisingly, developers have been less than enthused about the pods because they will likely decrease property values. But many individuals have offered help and he is try to self-fund a prototype.

Turning his focus to public realm, Furzer's newest project is documenting benches seemingly for the public, but which are explicitly created to repel homeless from using them to rest. Two egregious examples are outside of the Royal Courts and Camden Bench.

"The benches show a lack of the designer's duties being undertaken, hidden behind the noted façade of functionality. A case of: 'Who do we want here, and who do we not want here?'" Furzer said. "I can wholeheartedly say that defensive architecture exists on an unprecedented level, and is sadly on the rise. We require a friendlier architecture to change the current perception of homelessness."

Other hostile architecture that is particularly pernicious is the usage of spikes on benches, in front of warm air vents and under shelters that could potentially shelter someone from the London rain. Furzer has supported innovations like providing mattresses and micro bookshelves over the spikes.

"Beautifully ironic, the bookshelves were home to several books relating to architecture and urban design, a temporary public library in a sense. As a temporary solution, this works. It does, however, allow these items to be removed simply by the landowner ... As for highlighting the issue, it had brought great attention. I do feel, however, a more permanent solution is required."

Most people do not stop to think just how much of the city is designed to control them. This hostile architecture is all over, Furzer said.

"Bus stops have slanted platforms you can perch on but not sit on. Barriers are placed on walkways. It sends a visual message and has a real-life impact. You aren't free anymore. You're limited by what and where a planner or corporation says you can go."

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How One Architect Is Innovating To Combat Homelessness In London

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Homelessness is on the rise in London. Recent RICS market research revealed that the UK faces a 1.8 million shortfall of rental properties by 2025. That chronic shortage of housing stock is forecast to push rents 25% over the next five years, followed by house prices at around 18%.

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It is called the Camden bench, after the local authority that originally commissioned the sculpted grey concrete seats found on London streets. The bench's graffiti-resistant sloping surface is designed to deter both sleeping and skateboarding.

It is called the Camden bench, after the local authority that originally commissioned the sculpted grey concrete seats found on London streets. The bench's graffiti-resistant sloping surface is designed to deter both sleeping and skateboarding.

While not as obvious as the stainless steel "anti-homeless" spikes that appeared outside a London apartment block recently, the benches are part of a recent generation of urban architecture designed to influence public behaviour, known as "hostile architecture".

Skateboarders are now attempting to subvert the benches in the way they know best. "We're demonstrating today that you can still skateboard on it," said Dylan Leadley-Watkins, as he careered to a halt after hurling himself and his board along one of the benches in Covent Garden.

"Whatever the authorities want to do to try to destroy public space, they can't get rid of everyday people who can come through an area without having to spend money and do something that they enjoy."

The actions of skateboarders and those angered at the spikes - since removed after an online petition surpassed 100,000 signatures and the London mayor, Boris Johnson, joined in the criticism - come at a time when many argue that cities are growing ever colder towards certain groups.

In addition to anti-skateboard devices, with names such as "pig's ears" and "skate stoppers", ground-level window ledges are increasingly studded to prevent sitting, slanting seats at bus stops deter loitering and public benches are divided up with armrests to prevent lying down.

To that list, add jagged, uncomfortable paving areas, CCTV cameras with speakers and "anti-teenager" sound deterrents, such as the playing of classical music at stations and so-called Mosquito devices, which emit irritatingly high-pitched sounds that only teenagers can hear.

"A lot of defensible architecture is added on to the street environment at a later stage, but equally with a lot of new developments it's apparent that questions of 'who do we want in this space, who do we not want' are being considered very early in the design stage," says the photographer Marc Vallée, who has documented anti-skateboarding architecture.

Others emphasise the value of environmental design in deterring criminal behaviour, and insist that thinking has long moved on from such crude solutions as stainless steel spikes.

"Spikes are part of an outdated fortress aesthetic not welcome in communities, where there is recognition that urban design needs to be inclusive," says Lorraine Gamman, professor of design at Central St Martins and the director of the institution's Design Against Crime (DAC) research centre.

"If we wish to use design to reduce antisocial behaviour, then democracy needs to be visible in the crime-prevention design we put on our streets," she says. "I don't have a problem with the Camden bench - whose aesthetics others have criticised - but I do have a problem that in many locations benches, toilets and dustbins appear to have been removed to reduce anticipated crime, at the expense of the law-abiding majority."

Innovations currently being developed by Central St Martins include "ATM art" - ground markings aimed at increasing the privacy and security of cash machine users.

Others have included projects related to graffiti ("Graffiti Dialogues"), anti-theft "Grippa Clips" for use in bars and cafes and the " Camden bike stand" , which make it easier for cyclists to keep their bicycles upright and lock both wheels and the frame to the stand.

Anger towards some of the blunter types of "defensible architecture" is growing. On Wednesday, activists poured concrete on top of spikes outside a central London branch of Tesco. The company said they were to prevent antisocial behaviour rather than to deter homeless people but agreed on Thursday to remove them.

The architectural historian Iain Borden says the emergence of hostile architecture has its roots in 1990s urban design and public-space management. The emergence, he said, "suggested we are only republic citizens to the degree that we are either working or consuming goods directly.

"So it's OK, for example, to sit around as long as you are in a cafe or in a designated place where certain restful activities such as drinking a frappucino should take place but not activities like busking, protesting or skateboarding. It's what some call the 'mallification' of public space, where everything becomes like a shopping mall."

Rowland Atkinson, co-director of the Centre for Urban Research at the University of York, suggests the spikes and related architecture are part of a broader pattern of hostility and indifference towards social difference and poverty produced within cities.

"If you were being a bit cynical but also realistic, it is a kind of assault on the poor, a way of trying to displace their distress," he says. "You have various processes coming together, including economic processes that are making people vulnerable in the first place, like the bedroom tax and thresholds on welfare, but the next step seems to be to say: 'We are not even going to allow you to accommodate yourself in the most desperate way possible.' "

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Anti-homeless spikes are part of a wider phenomenon of 'hostile architecture'

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It is called the Camden bench, after the local authority that originally commissioned the sculpted grey concrete seats found on London streets. The bench's graffiti-resistant sloping surface is designed to deter both sleeping and skateboarding. It is called the Camden bench, after the local authority that originally commissioned the sculpted grey concrete seats found on London streets.

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Benches in parks, train stations, bus shelters and other public places are meant to offer seating, but only for a limited duration. Many elements of such seats are subtly or overtly restrictive. Arm rests, for instance, indeed provide spaces to rest arms, but they also prevent people from lying down or sitting in anything but a prescribed position. This type of design strategy is sometimes classified as " hostile architecture," or simply: "unpleasant design."

Gordan Savičić and Selena Savi ć, co-editors of the book Unpleasant Design, are quick to point out that unpleasant designs are not failed designs, but rather successful ones in the sense that they deter certain activities by design. A bench which fails to be comfortable and flexible, for example, can still be a successful design ... if the designer intends for it to be an uncomfortable place to spend long periods of time.

Unpleasant designs take many shapes, but they share a common goal of exerting some kind of social control in public or in publicly-accessible private spaces. They are intended to target, frustrate and deter people, particularly those who fall within unwanted demographics.

A number of such strategies are aimed loitering teens, and many of these are less physical or obvious than an uncomfortable bench. Some businesses play classical music as a deterrent, on the theory that kids don't want to hang out or talk over it. Other sound-based strategies include the use of high-frequency sonic buzz generators meant to be audible only to young people. Housing estates in the UK have also put up pink lighting, aimed to highlight teenage blemishes. In many cases, there is little data to show how well these more unconventional strategies actually work.

At the other end of the spectrum, blue lighting has been used in public restrooms to deter intravenous drug users; the color makes it harder for people to locate their veins. Public street crime declined in Glasgow, Scotland following the installation of blue street lights, but it's difficult to attribute this effect to the new lighting. Blue may have calming effects or may simply (in contrast to yellow) create an unusual atmosphere in which people are uncomfortable acting out. Though questions remain about causality versus correlation in this case, Tokyo, Japan has since piloted a similar blue-light program, hoping to reduce suicides in subway stations.

The use of lighting as a means of public control may be much older than these color-specific interventions. According to Selena Savi ć, when Austria-Hungary annexed Bosnia the government installed unpleasantly bright street lamps in Višegrad. Their goal was to deter nighttime gatherings that could lead to resistance or rebellion. The locals, displeased with these lights, would break the lamps at night, and the government would reinstall them the next day. A similar phenomenon (of street lights as social control) dates back even further in Paris, France.

Today, we have since become so habituated to public lighting that our primary association with street lights is that they deter criminal activity and make us feel safe. Except for those who lament the lack of stars in the night sky or live in apartments next to a too-bright bulb, one might never consider the possibility that street lighting might be unpleasant. This is part of the point of the Unpleasant Design project and book: to bring these rarely-noticed phenomenon to light, so to speak.

While some examples are more invisible, or at least intangible, other hostile architectural interventions are more physical and overt. Concrete or metal spikes are used to keep people from urinating in dark city corners, while others are aimed at stopping people from sleeping on the streets.

One major problem of the spikes (and all the unpleasant designs that curb undesired behavior) is that, unlike interactions with security guards or police officers, these physical features are non-negotiable. Their permanence is definitive and uncompromising, baked into the built environment in a way that is hard to argue against or reverse.

Spikes aside, street furniture is one of the most common subjects of unpleasant design critiques. The limitations built into urban objects restrict activities, denying a potentially complex range of uses and interactions. Beyond dividers and armrests, some benches are mounted so high that a sitter's feet will not reach the ground, making them uncomfortable after a short period. In other cases, shared seats are barely benches at all, just slim slats to stand and rest against.

Of all these bench designs, there is one masterpiece in particular that stands out from the crowd. The Camden Bench is a highly refined work of unpleasant design, impervious to essentially anything but sitting.

Designed by Factory Furniture, the Camden Bench is a strange, angular, sculpted, solid lump of concrete with rounded edges and slopes in unexpected places. Critic Frank Swain calls it the "perfect anti-object."

The Camden Bench is virtually impossible to sleep on. It is anti-dealer and anti-litter because it features no slots or crevices in which to stash drugs or into which trash could slip. It is anti-theft because the recesses near the ground allow people to store bags behind their legs and away from would be criminals. It is anti-skateboard because the edges on the bench fluctuate in height to make grinding difficult. It is anti-graffiti because it has a special coating to repel paint.

Most of these goals seem noble, but the overall effect is somewhat demoralizing, and follows a potentially dangerous logic with respect to designing for public spaces. When design solutions address the symptoms of a problem (like sleeping outside in public) rather than the cause of the problem (like the myriad societal shortcomings that lead to homelessness), that problem is simply pushed down the street.

Spikes beget spikes, and targeted individuals are simply moved around ... in much the same way that pigeon deterrents shuffle birds from block to block without reducing their overall numbers in a city.

Meanwhile, some guerrilla efforts have been made to fight back against unpleasant designs. Artist Sarah Ross, for instance, created a set of "archisuits" designed to work in and around specific deterrents. In one such suit, pads with gaps let the wearer sleep on segmented benches.

Softwalks has developed a series of attachable city seats and tables that clamp onto scaffolding and other urban posts or poles. Their modular on-demand street furniture is in part practical but also makes a statement about hostility and voids and built environments.

Whether handed down by the establishment or created in response to official interventions, there is always an aspect of coercion to design. Usability design, for instance, is used to get people to buy things and use their smartphones in certain ways, often without the user even being aware of it. Fundamentally, works of unpleasant design, hostile architecture and street furniture in general are no different.

The reason we need a critical theory of unpleasant design is so we can recognize the coercion that is taking place in our public spaces. We need to know when we are replacing human interaction, nuance and empathy with hard, physical and non-negotiable solutions.

Whether you think a certain form of design is exclusionary but serves a greater good, or believe it is just hostile and offensive, it is important to be aware of the decisions that are being made for you. Designs that are unpleasant to some are put into place to make things more pleasant for others, and that latter category might just include you.

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Unpleasant Design & Hostile Urban Architecture - 99% Invisible

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Benches in parks, train stations, bus shelters and other public places are meant to offer seating, but only for a limited duration. Many elements of such seats are subtly or overtly restrictive. Arm rests, for instance, indeed provide spaces to rest arms, but they also prevent people from lying down or sitting in anything but a prescribed position.

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Just after midday on a cloudy June afternoon, a few hundred architecture aficionados are filing into the lecture theatre at the Royal Geographical Society in London, to see Bjarke Ingels.

Inside, the atmosphere is buzzing - right now, the Dane is the closest the discipline has to a rock star. His international practice, Bjarke Ingels Group (BIG), recently finished its first New York skyscraper, and is working on two more, including a proposed second tower at the new World Trade Center. It lists clients from Google to LEGO to the restaurant Noma; commissions that, for most architects, would be career-defining. Yet Ingels is just 41 years old.

He is also a showman. In 2009, Ingels published his design manifesto, Yes is More, as a graphic novel. Its oft-quoted principles, include "BIGamy" (that buildings should have hybrid functions, such as a waste-to-energy power-plant topped with a ski slope, under construction in Copenhagen), and "hedonistic sustainability" (that for green design to succeed, it must be more desirable than the status quo), have made him a popular conference speaker.

Dressed in his regular uniform of a black Acne suit over a long-sleeved T-shirt, Ingels looks tired. He was up late overseeing the final touches to BIG's latest project, the Serpentine Gallery's annual summer pavilion in Hyde Park. The pavilion is the latest indicator of Ingels' "starchitect" status: previous honourees include Frank Gehry, Daniel Libeskind and the late Zaha Hadid. BIG's design, which Ingels calls "the unzipped wall", consists of 1,802 extruded fibreglass bricks. Solid at its peak, the base has been pulled apart to create a cavernous, twisting internal space. The previous evening, Ingels had posted an Instagram picture of structure captioned "Minecraft" - a reference to the wildly popular block-based game.

"I love computer programmers," Ingels explains of the design. "They have a very beautiful definition of complexity as 'the capacity to transmit the maximum information with the minimum data'." Ingels often uses technology as an analogue for design. He describes architecture as "world craft" - for our concrete reality. "A kid in Minecraft can build a world and inhabit it through play," he tells WIRED. "We have the possibility to build the world that we want to inhabit."

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Ingels is prone to bold ideas and unafraid to articulate them. As his architect mentor (and former employer) Rem Koolhaas wrote in Time magazine: "Bjarke is the first major architect who disconnected the profession completely from angst." Serpentine director Hans-Ulrich Obrist puts it more simply: "Bjarke has never shied away from the big topics of architecture, of society, of life. I guess that's why he called his practice BIG."

That attitude, combined with his prodigious rise, has inevitably led to criticism. Later in the talk, Ingels becomes irritated when an audience member suggest the pavilion's design idea is simplistic - "legible at the expense of complexity".

"I think it's interesting that there is a suspicion of the ability to express what you are doing as a flaw," Ingels replies. "To me it is only a strength. If you are not able to transmit what you're trying to achieve to your collaborators you will only have minions - or morons."

"Bjarke has never shied away from the big topics of architecture, of society, of life. I guess that's why he called his practice BIG"
Hans-Ulrich Obrist, Serpentine director

Soon after, Ingels makes for the exit, briefly posing for pictures with fans. (He follows the advice of his friend, Game of Thrones actor Nikolaj Coster-Waldau: "He just says 'yes', does it, moves on. Done.") As we walk back through Hyde Park, he still seems rankled by the question.

"It's legendary how architectural lectures can be incredibly boring," he says. "Like it's this argument that if you're good at explaining what you're doing, you must be bad at something else. Which is idiotic." Soon, though, his mood brightens. "I think a really strong critical dialogue is actually enjoyable because it allows you to sharpen your points," he says, Does he ever feel vulnerable? "Every time you put a foot forward, you are vulnerable. Especially in architecture, because what you do is by definition public art. It's not like it's inside a museum - it is the museum. So anyone is entitled to an opinion."

He smiles. "Opinions are like assholes: everybody has one."

Ingels founded BIG in 2005. The practice quickly gained attention for its bold takes on otherwise ordinary projects, in particular two apartment complexes in Copenhagen's Ørestad district, dubbed the Mountain Dwellings and the 8 House. The latter, named for its double-courtyard layout, incorporates a path for residents to cycle up to the tenth floor.

BIG's rapid success has been built on the foundation of Yes is More. "It's not like we design buildings for architects. We design buildings for people who work in a power plant, people who work in a school, people who run a museum."

Every BIG design starts with deep research into every aspect of a building: its users, its environment, its city. After BIG settles on an initial design, it may iterate dozens of times throughout the development process. Instead of a final, perfect edifice, Ingels says, the process develops a "design narrative" for each project. Sometimes that involves users directly: for a park in Copenhagen, BIG crowdsourced objects from around the world to reflect the international makeup of the local residents. "Every time you make a decision, we reiterate why it is that it makes sense. Why is it relevant? What does it unlock? What does it solve?"

The iterations can occasionally be radical. Take VIA 57 WEST, BIG's New York "courtscraper" - a fusion of European-style courtyard development with a Big Apple high-rise. The building, which opened this year, is a stretched pyramidal peak sloping down toward the Hudson. Clad in white, it has the look of a downed Star Destroyer. Originally, the building featured two peaks, with a spire on the waterfront with its own lobby. "Four months into the process, the client calls me up and says, 'We can't have two lobbies, our running costs are going to be too high'," he says. Another firm might have balked, but not BIG. "So then we said, 'OK, what if we just simply keep the entire south and west, and then we just lift this" - he pinches the air, as if pulling on bread dough - "500 feet?"

The resulting iconic spire was, he says, the result of Yes is More: iterating within confines. "I will bet you a million bucks that if we would have walked through the door on day one with that design, they would have said, 'Are you insane?!' But because we had gone through this journey, and created this new design that was clearly a sibling to what we had already done, they could see that it was actually the answer to their question - and they loved it."

Yes is More, he stresses, is not about simply agreeing to clients' whims. Instead, he says, it's about iterating within an established "design narrative", which is shaped by the architect, but also by a building's inhabitants and its environment.

"I think it's interesting that there is a suspicion of the ability to express what you are doing as a flaw. To me it is only a strength"
Bjarke Ingels, architect

The result also has practical benefits: "It's a form of empowerment," he says. "You empower team members with the source code of what you're doing."

It can be hard to keep up with Ingels. During our conversation, he quotes from Einstein, screenwriting theory, Russian folk tales and the relative merits of monarchy and republican political systems (monarchies favour stability, he says). In particular, he is fond of Charles Darwin. "All of the revolutions that Apple and Steve Jobs reportedly delivered were not actually revolutions - they were rather obvious evolutions. Little steps, combining available technologies in a way that made sense. As William Gibson says, 'The future is already here, it's just unevenly distributed.'"

Architecture's role, he believes, is to redistribute that future. "If you look at the projects that have brought us to where we are now, they are mid-income housing on the outskirts of Copenhagen, rental apartments in New York," he says. "We've always had this principle that no commission is uninteresting. Even the most ordinary of projects can become extraordinary. Rather than reserving architecture for cultural palaces or royal palaces, everything merits careful consideration and accommodation."

Back at the Serpentine, clouds are forming over the pavilion. Ingels walks through the structure, poring over the final details: the alignment of planks in the walkway beneath the space, the arrangement of internal seating. "I love the moments where you stand here, and it's almost like it's completely transparent," Ingels says. The translucent bricks glow with light, giving the space a sci-fi feel. "It has a sort of warp-speed effect. Zhew!" He carves an imaginary route through space-time with his palm.

The site manager approaches. There is a problem: a contractor has made a mistake during the installation of the floor lights, designed to light the pavilion from within in the evening. The error is barely noticeable if you aren't looking for it, but it is too late to change. "It is incredible," Ingels says, exasperated. "You know, there's basically one way to do it wrong - and that's the way it was done. Totally insane."

After he finishes going over some plans - there's a launch party to finalise, and a film crew from Netflix want to shoot some footage for an upcoming documentary - we walk through the park to a restaurant overlooking the Serpentine. Cyclists and joggers meander along the path. "At the end of the day, the true miracle is just to get people to follow the fucking instructions," he sighs.

Ingels has been thinking a lot about control lately. BIG has expanded rapidly: the practice now employs 220 in Copenhagen and New York, and recently opened an office in London. Its website currently lists 16 buildings under construction, from China to the Faroe Islands. Although Ingels remains the face of the business, he relies on his 11 partners to work across the company's operations. "I make sure it's the best idea that gets taken forward, regardless of who came up with it - whether that's the most brilliant solution or the coolest material."

But, whereas Ingels is evangelical about the principles of Yes is More, architecture can be frustrating. "At the end of the day, we're the ones who get blamed for hiccups in the execution. But we are not the builders," he says. "For example: in 57 WEST we didn't design the apartment layouts, the executive architect did. At that point we were just creating our presence in America, so we didn't have much of a bargaining chip."

During the final construction of the Danish National Maritime Museum in 2014, Ingels was so unhappy with contractors that at one stage he considered cancelling the opening (the issues were resolved at the 11th hour). "It's always like that in architecture. I've never been through a process that wasn't excruciatingly painful. You never have a sense that a building was as good as it could have been. That said, they're pretty goddamned good buildings."

Clients present further challenges: architecture is slow and expensive, and projects often languish in development for years. At the time of writing, BIG's proposed design for 2 World Trade Center, a $4 billion (£3.1bn), 80-plus-storey creation, is still on pause awaiting financial approval.

"I'm super interested in trying to find ways to increase our control, because we're going to take responsibility for our work," he says. "We're going to die to make it great, no matter what."

Ingels cites Apple, which has become the world's most valuable company in part due to its total control over its products. "I don't think we're going to become a contractor," he explains. "But I do know that I would love to be in a situation where we can follow the idea even further towards its final manifestation."

One element of that plan is BIG Ideas. Launched in 2014, the division is part R&D lab, part incubator for BIG design concepts that can be spun off into independent products or companies. The lab was founded to build the steam-ring generator for the Amager Bakke - the Copenhagen power plant with a ski slope on its roof - which will "puff" every time it emits a tonne of carbon dioxide. It is now working on numerous BIG collaborations and spin-off projects, including Friday, a smart internet-connected lock, "a company that creates water from super-efficient dehumidification", and Urban Rigger - floating student housing for coastal cities built from repurposed shipping containers. The first are scheduled to be built in Gothenberg, Sweden, this year.

Urban Rigger is part of Ingels' vision for where BIG is heading. "My latest obsession is what we call social infrastructure, where we mean it literally - infrastructure that has positive social side effects," he says. "Everybody knows that a highway or bridge or a power plant can have a negative impact on its environment. But what if they could come with premeditated positive social and environmental side effects?"

He points to BIG's Copenhagen energy plant, which will double as a park when it opens in 2017. "It just shows you that with clean technology, a piece of public utility doesn't have to be an eyesore or a lost opportunity. Once the news starts spreading then every facility manager or mayor in the world will start thinking, 'We could have this, or something like this.' And I think that's part of this: spreading the future more generously."

Spreading the future, as he explains it, is one reason why BIG has partnered with Hyperloop One, an LA-based company attempting to build Elon Musk's proposal for an ultra-high-speed pod transit system. It is also redesigning Google's Mountain View campus with British designer Thomas Heatherwick, and undertaking projects in Shenzhen, the hub of China's tech industry.

He points to Silicon Valley's increasing investment in "moonshots" - efforts like Hyperloop, SpaceX and Google's self-driving cars. They all have something in common: a penchant for wildly ambitious (some would say overly so) ideas. But, like Ingels, they are all ignoring their critics and simply getting on with building things.

"I think that in the next 20 years the physical world will undergo a lot of the dramatic change that the digital world has seen over the last decade," Ingels says. BIG is poised to shape that transformation. Even virtual and augmented reality, he says, is an opportunity for architecture: the creation of worlds. World craft.

"The engine that has propelled the world economy and innovation - and filled the pages of WIRED - over the last few decades is actually finally getting back into physical space. So I think there is this moment where architecture may again be becoming relevant."

And with that, Ingels stopped talking, and went back to work.

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Think Bigger: Bjarke Ingels on why architecture should be more like Minecraft

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Just after midday on a cloudy June afternoon, a few hundred architecture aficionados are filing into the lecture theatre at the Royal Geographical Society in London, to see Bjarke Ingels. Inside, the atmosphere is buzzing - right now, the Dane is the closest the discipline has to a rock star.

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In September last year, a one-year-old child appeared on the American/Mexican border near the crossing at Tecate, south east of San Diego. He was peering over the wall and smiling, his fingertips resting on the top.

He was 65ft tall. The image, which went viral, was the latest politically charged piece from J R, the French artist whose giant photographic works, pasted on buildings or scaffolding, have become famous around the world.

As a young, street-tough, graffiti artist, J R came to global attention during the Paris riots of 2005, when an image he had stuck on walls in the notorious Les Bosquets housing projects - of a film-maker friend holding a video camera like a sub-machine gun - became the backdrop to burning cars and stone-throwing youths.

In 2007, he created an illegal exhibition on the wall separating Israel from Palestine, which paired huge images of people from both sides who do the same job: barbers, shopkeepers, religious leaders, for instance, all pulling faces at the camera. It was brilliantly funny, warm and provocative.

We meet at his comfortable French studio (his main base is in New York these days), which occupies the ground floor of a nondescript building on a busy Parisian boulevard.

It's a warm space with wooden floors, several assistants working behind desks and drawing boards, and an array of unusual objects: a vintage model crane, busts, film equipment, a motorbike.

The 34-year-old, whose real name remains a mystery, is busy planning his forthcoming London exhibition, at the new Lazinc gallery in Mayfair, run by Banksy's former agent Steve Lazarides.

Here, alongside a new installation on the building itself, J R will be showing the sketches for Giants, a series of athletes that appeared throughout Rio de Janeiro for the 2016 Olympics.

The most famous was a high jumper performing a Fosbury flop over an apartment building, which required him to reinforce five floors of the block to build scaffolding strong enough to withstand high winds 65ft into the sky.

Credit: Lazarides

"I've always adapted to architecture, and you see my images taking over buildings and then the buildings almost becoming too small," says J R. Yet he stresses, "I'm not looking to do the biggest piece ever, it's really not that. Often people say, 'We're going to give you this building, the biggest, tallest...'

"Wow, I'm going to [have to] spend two months on the scaffolding talking to nobody, pasting my stuff? It's boring. Not interested."

J R is slim and kinetic, jumping up mid-conversation to retrieve a scrapbook with images of his old works. (He has been documenting his projects almost since the beginning because, he says, "I remember being really sad when I was 17 and they would have erased my pasting by the morning".)

At one point, he lies down horizontally across the arms of his chair to show how he used to reach down from the tops of tall buildings to write his tag with a marker. He can still see it everywhere in Paris, he says.

Today he's wearing a black jumper, blue jeans, hat and glasses with black frames instead of his usual Jean-Luc Godard-style shades. His look helps him to stay anonymous, he says, describing how when he crossed between Mexico and the US, he removed his disguise and proceeded to chat to the border guards about the work, without revealing that he was responsible. The structure had taken a few weeks to build; the pasting a couple of days, and all of it without permission.

I ask if, for J R, the illegal, guerilla nature of this kind of work is part of its appeal. "No," he says. "I never think it has to be illegal to be good. If I could do everything legally I would."

JR was born in France to parents from Tunisia and eastern Europe. He grew up in an apartment building on a housing estate in the suburbs of Paris.

"My parents slept in the living room, so it was like, 'you can stay out as late as you want as long as you go to school and don't get in trouble'."

As a teenager, he would write on neighbourhood walls with his friends. "It was only when I got fired - expelled - from high school and had to go to my cousins' in Paris that I met some real graffiti artists. I was not scared to climb any building, but I didn't have the style to match these guys. When I found a camera in the subway and started following them and taking photos, I felt like I'd found my space."

He was lucky, he says, to fall in with the leader of a prominent crew of graffiti artists who lived nearby, though the group soon acquired a reputation for violence.

When he travelled with them into the centre of Paris, they would often get into fights, and he'd end up having to be picked up by his parents from the police station. It happened so many times that whenever the police called to say, "We caught your son tagging", his mother would say, "Oh great, keep him."

In those days, Paris was full of police but, he says: "I would follow different crews, and see how the real pros, the best of the best, would do it. They would go in full daylight dressed like a nobody with a little bag with a spray in it, and paint right behind you in the middle of the subway.

"And I thought, wow, actually the more calm you are, the more guts you have, the less you got in trouble." When he began posting his own pieces all over Paris, the police were desperate to catch him, he says, but couldn't.

It wasn't long before he noticed that graffiti was an insular language, whereas photography wasn't. "I realised how it communicated with people who would never stop to look at graffiti in the street."

He could only afford black and white photocopies, but saw that this separated him from the gloss and colour of advertising posters, so he continued.

He has avoided working for brands or corporate sponsors ever since, even though self-financing his work limits what he can do. When he created a work on the pyramid at the Louvre in 2016, he refused to work with its corporate partners. "Brands have taken over everything, it's almost like a last stand," he says.

His street smarts haven't always worked. He was arrested and deported from Israel; he went to North Korea recently and realised that it was dangerous to paste images larger than his thumb. And though he would run through the streets of Paris, "I wouldn't run in Brazil, because they shoot you."

He first went there in 2008, when he pasted eyes and faces on the shacks and houses of one of the no-go favelas. If his experience with graffiti gangs in Paris helped - he talked to everyone in the favela, including its criminal element, to gain permission - so, too, did his sense of being in his element even miles away from home.

"I grew up in buildings where our neighbours were from all over the world and I feel as good if I'm in Italy or I'm in London," he says. "I think I've always had that because of my multiracial background. I've always felt like a citizen of the world."

As with many of his projects, the favela images have been widely shared, yet his work is not about the power of social media, he says, but the ability to connect with people in the street. His gift for communication earned him a TED prize in 2011.

He used the $100,000 award to start the Inside Out project, which encouraged people all over the world to paste images of their faces on walls, buildings, landscape, as a statement. He has been inspired by the works the call-out produced, from Bangladesh to Afghanistan.

It's not restricted to his own political vision, either, he adds, picking out a project where pensioners in Switzerland pasted on a retirement home. "It's a wealthy city, where they have everything, but they just feel forgotten. They pasted their photos to say, 'Hey, we're still here'."

This year will see the release of a documentary made by the artist and the 89-year-old filmmaker Agnès Varda. Titled Faces Places (Visages, Villages was the original French title), it follows the unlikely duo as they travel through rural France in JR's van-cum-photo booth, photographing and interviewing the locals as they go.

As the pair create images of the people they meet, so the film slowly reveals a portrait of them. The film, which won the documentary prize at Cannes last year, has also been shortlisted for a Documentary Feature Oscar.

Credit: AFP

Their relationship began when Varda's daughter invited J R to tea at her mother's house in Paris. While there, he took a photograph of the director on his phone and said he'd love to do one at his studio, too.

She turned up the next day and stayed for lunch. The day after that they decided they would make a short film together, even if it was only a couple of minutes long.

"We didn't know each other," says J R. "She didn't know if I would be a pain in the ass to work with or vice versa. We just started working and then we got caught up in it. It was friendship at first sight, although it was not easy working together at the beginning. We had arguments - she had never co-directed anything in her life, so we fought."

Slowly, two minutes became five, then 10, then 20. Nine months later, they started talking about it being a feature. There had never been a script, so the editing took a long time.

"But that was the magic in it," says J R, "we went on the road and things happened." Finally it was shown at Cannes. "I'll never forget that. It was emotional - a lot of people knew it might be the last time they see an Agnès Varda movie in Cannes. There were people crying."

He shows me the mural he made for Montfermeil - home to Les Bosquets - pointing out all the people in it, including the mayor who once sued him for pasting on the walls there, and reflects on his extraordinary career.

"If the mayor hadn't sued me, the riots hadn't exploded, I wouldn't be an artist today," he says. "I didn't even know galleries existed."

These days, his gallery is the world itself.
JR: Giants - Body of Work is at Lazinc, Mayfair, from Friday 28 February; lazinc.com

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The rise of JR: how a French graffiti artist with a Xerox conquered the art world

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In September last year, a one-year-old child appeared on the American/Mexican border near the crossing at Tecate, south east of San Diego. He was peering over the wall and smiling, his fingertips resting on the top. He was 65ft tall.

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Its not easy to find peace and adore the little beauties around us in a busy Indian city like Chennai ! This photo that shows a simple staircase in triangular patterns,which is pleasing to the eyes ! At the end of the day,life is a P A T T E R N !.

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Frederick John Kiesler, (born Sept. 22, 1892, Vienna, Austria-died Dec. 27, 1965, New York, N.Y., U.S.), Austrian-born American architect, sculptor, and stage designer, best known for his "Endless House," a womblike, free-form structure.

After study at the Technical Academy and the Academy of Fine Arts in Vienna, Kiesler worked on a slum clearance and rebuilding project in Vienna with Adolf Loos. In the early 1920s Kiesler began to design for the stage. He designed what was probably the first theatre-in-the-round when he was architect and director of the International Music Theatre Festival of the City of Vienna, held in 1924.

At the invitation of two theatre groups Kiesler went to the United States in 1926. From 1933 to 1957 he was scenic director for the Juilliard School of Music, New York City. His designs for the Metropolitan Opera were notable for their imagination and low cost. From 1936 to 1942 he was director of the design laboratory of the Columbia University school of architecture.

Kiesler's "Endless House" was never built full-scale, but a large concrete model was displayed at the Museum of Modern Art, New York City, in 1960. More sculpture than architecture, the house consisted of a group of joined, rounded, shell structures on piers that could be used as continuous space or as separately defined, closed-off rooms. Inside the Endless House (1966), written as a journal, is basically an account of Kiesler's artistic life. His last important work was the Shrine of the Book (1959-65), which houses the Dead Sea Scrolls in Israel.

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Frederick John Kiesler | American architect and sculptor

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Frederick John Kiesler, Austrian-born American architect, sculptor, and stage designer, best known for his "Endless House," a womblike, free-form structure. After study at the Technical Academy and the Academy of Fine Arts in Vienna, Kiesler worked on a slum clearance and rebuilding project in

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HDA-X | Hernan Diaz Alonso | Los Angeles | United States

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Hernán Díaz Alonso is an Argentine-American architect. He is Director/Chief Executive Officer of SCI-Arc in Los Angeles, and Founder and Principal of Los Angeles-based design practice HDA-X.

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Escher well know for his optical illusion works, mostly in paper, which is very much different from David Copperfield and David Blaine that perform

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These images by Swedish photographer, artist, and Photoshop genius Erik Johansson are anything but ordinary. What at first appears to be a room, house, or street quickly shifts into a mind-boggling optical illusion, using creative manipulations of perspective to keep the viewer perplexed. From cars driving on the underside of the freeway to people living on their ceilings, Johansson's strikingly convincing realizations of spatial impossibilities will have you second-guessing your surroundings.
More images and a "behind-the-scenes" video, after the break.
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These images by Swedish photographer, artist, and Photoshop genius Erik Johansson are anything but ordinary. What at first appears to be a room, house, or street quickly shifts into a mind-boggling optical illusion, using creative manipulations of perspective to keep the viewer perplexed.

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This photo of a warped building isn't Photoshopped at all.

The building in this picture may look like it's melting, but it was actually a temporary mural created by artist Pierre Delavie in 2007. Located at 39 Avenue George V in Paris, France, this building was under construction at the time this photo was taken. To conceal the construction site, Delavie designed a printed canvas to look like a distorted building and draped it over the real building's facade.

Don't worry - this house isn't actually sinking.

Also located in Paris, France, this building sits behind a grassy bank near the Sacré-Cœur Basilica at the summit of Montmartre.

Here's what it actually looks like.

According to travel bloggers Brenna Holeman, of This Battered Suitcase, and Sophie Nadeau, of solosophie, you can find this orange building while climbing the steps to get to the Sacré-Cœur. Since you're scaling a hill, when you take a photo of this building, it will be partially covered by the grassy bank at a 45-degree angle.

To create the illusion that the house is "sinking," simply rotate your camera until it's parallel with the bank - the ground will appear flat instead of at an angle. You can also take a normal photo and edit it later for the same effect.

This house looks like it only has one, very thin wall.

A popular tourist destination in Odessa, Ukraine, this so-called " Flat House" is also known as the "Devil's House" or the "Witch House." In real life, it just looks like a regular row of apartments. But from certain angles, the side of the building seems to disappear, creating a mind-boggling visual trick.

Is this house bending toward or away from you?

Designed by iconic pop artist Roy Lichtenstein, " House I" is a painted aluminum structure located at the National Gallery of Art's Sculpture Garden in Washington, DC. When you see it in real life, from certain angles, the house appears to both project toward and recede away from you.

But viewed from the side, you can see that the sculpture is not three-dimensional at all but rather consists of two thick two-dimensional panes bent slightly toward each other. The roof of the house, another thick pane, is also bent a smidge downward.

When conditions are just right, this building becomes almost invisible against the sky.

Designed by Pickard Chilton and Everton Oglesby Architects, the Pinnacle at Symphony Place stands out in downtown Nashville's skyline. The building, constructed of stone, metal, and glass, becomes an optical illusion in certain conditions, when its sleek, mirrored facade seems to disappear into the sky.

These people appear to be defying gravity.

Despite what it looks like, the people in this photograph aren't casually sitting on window sills, many feet above the ground.

And these parents aren't dangling precariously from the window.

There's a simple explanation for all of this.

Those people were all lying on the ground.

First built in 2004 for the annual "Nuit Blanche" art festival in Paris, France, " Bâtiment" is a temporary installation created by Argentinian artist Leandro Erlich. The illusion is created by a giant mirror positioned at a 45-degree angle over a house facade on the ground. The mirrored effect looks like a three-dimensional house in photos, so participants can pretend like they're dangling from windows, scaling the side of the building, and more.

Erlich's installation has also appeared at the London Architecture Festival in 2013, where these photos were taken, among others.

This house hasn't been smushed or destroyed.

Famed architect Vlado Milunic collaborated with Canadian-American architect Frank Gehry to design this famous building in Prague, Czech Republic. Known as the " Dancing House," the two buildings represent two iconic dancers, Fred Astaire and Ginger Rogers. The glass tower, "Ginger" was designed to bend toward the concrete tower, "Fred," which is topped with a metal cupola to represent hair.

These yellow cubes are actually houses.

These cube houses can be found in the cities of Rotterdam and Helmond in the Netherlands. Designed by architect Piet Blom, these homes were inspired by the concept of " living as urban roof," a model of community living that optimizes the limited space available in densely populated, urban cities.

Here's a look inside one of the cube houses.

From the outside, it may be difficult to picture normal rooms inside these cube houses, but the illusion disappears once you're inside. While the walls of the home are angled, the floor is perfectly flat. If you're especially intrigued, you can even book a stay at one of these cube homes on Airbnb.

This cluster of apartments isn't what it seems.

Designed by the French artist collective, CitéCréation, these buildings are actually a giant mural painted on a completely flat wall. The famous " Le Mur des Canuts" or "Fresque des Canuts" in Lyon, France, is one of Europe's most well-known examples of a trompe l'oeil - a visual illusion in art that tricks the eye into perceiving a painted two-dimensional image as a three-dimensional object.

From a certain angle, this face appears to project away from the building toward you.

Painted by famed artist Adnate, this trompe l'oeil can be found on the corner of Merri and Kepler Street in Warrnambool, Victoria, Australia. The Ngatanwarr mural, which was unveiled in 2015, was created as a way to represent the region's indigenous culture and Aboriginal heritage, according to The Warrnambool Standard.

In an effort to "preserve the past and embrace tomorrow," the mural incorporates details representing significant cultural sites and narratives of the Gunditjmara and Great South Coast region.

Believe it or not, this floor is completely flat.

Made of 400 individual tiles, the floor in this building looks like it has a giant dent in the middle, but it's actually completely level.

Created by UK-based tile company Casa Ceramica, the optical illusion was designed to stop people from running in the hallway. It's installed in the entrance to one of the company's showrooms in Manchester, UK.

Even more mind-boggling, the optical illusion only works when you face the showroom's entrance. The "dent" in the floor disappears when you look at it from the opposite perspective.

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11 buildings that will play tricks on your eyes

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Architects and artists have clever ways of confusing your eyes. Their designs can trick you into seeing two-dimensional paintings as three-dimensional objects. They can add giant dents to a completely flat floor. And they can make skyscrapers seemingly disappear into thin air.