# data[].attributes.attachment_link.description
TOKUJIN YOSHIOKA INC.／吉岡徳仁の公式サイト。プロダクトやスペースなど、デザインは多岐に渡り、エルメス、スワロフスキー、カルティエほか、国内外の企業とのプロジェクトは高い評価を得ている。『Newsweek』誌では「世界が尊敬する日本人100人」に選ばれている。

# data[].attributes.attachment_link.provider_name
designboom | architecture & design magazine

# data[].attributes.attachment_link.readable_text
collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

formed by peeling whole seeds, the husks are a biodegradable and cheap resource.

formed by peeling whole seeds, the husks are a biodegradable and cheap resource.

a small treat is placed into a throttle lever, which is pulled by the feline to retrieve a snack.

a small treat is placed into a throttle lever, which is pulled by the feline to retrieve a snack.

the space features all-white walls, floors, furniture, and fixtures accented with black contour lines to create the flattened look of a cartoon drawing.

the space features all-white walls, floors, furniture, and fixtures accented with black contour lines to create the flattened look of a cartoon drawing.

# data[].attributes.attachment_link.title
byung hoon choi interview on 'water meditation'

# data[].attributes.attachment_link.description
collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future. collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

# data[].attributes.attachment_link.entities[].name
Create Beautiful Slow Motion Camera Movement Shots

# data[].attributes.attachment_link.description
The Slanted Lens is back at the YouTube Space shooting with their high-speed Phantom camera. We are going to take a look at the basics of slow motion video, and then try out using the Phantom camera - which is anything but the basics.

# data[].attributes.attachment_link.title
Loa and Vesu Vases for Wiener Silver Manufactur

# data[].attributes.attachment_link.description
PROJECT: Studio 400 Book Show Installation 2011-12 at Cal Poly San Luis Obispo PROFESSOR: Karen Lange STUDIO: Joe Varholick, Michael R. Loree, Shanna M. Sullivan, Isshin Morimoto, Huangyuan Chen, Cory L. Walker,Nathan W. Kiatkulpiboone, Pablo A. Sandoval, Farnoosh F. Rafaie, Nicolas C. Pappas,Alma D. Padilla-Iriarte, Ross G.

# data[].attributes.attachment_link.readable_text
London architecture team Softkill Design has designed a conceptual house that would be 3D printed in sections in a factory and fitted together on site (+ interview transcript).

Above image is by Julia Kubisty
Designed to cantilever out from a hillside, the structure of the house was generated using an algorithm that imitates bone growth to deposit material where it is needed along lines of stress, resulting in a fibrous web rather than a solid envelope.

Above image is by Julia Kubisty
The structure is porous, allowing rain to permeate, with waterproofing on the inside rather than the outside.

The house would be printed in 31 sections using the largest 3D printer currently available, then transported by truck to the site and fitted together.

Aaron Silver of Softkill Design told Dezeen that 3D printing could result in cheaper buildings that use less materials. "I think there really is an interesting future for architecture and 3D printing," he said. "You have great cost savings, material efficiency, things like that, which architects are vastly interested in."

Silver added that cladding materials and roofing could be printed as flexible fabrics and draped over buildings. Softkill Design are developing printed "curtains" that could be used "as interior membrane surfaces or exterior, water-resistant panelling and surfaces."

Silver spoke to Dezeen editor-in-chief Marcus Fairs at the 3D Printshow in London last week. See all our stories about 3D printing.

Here's the transcript of the interview:

Aaron Silver: My name is Aaron Silver, I am part of Softkill Design, and we are a team of architects and researchers who originally formed at the Architectural Association here in London. This project here is about a year's worth of research into structural optimisation in architecture and 3D printing in architecture.

So the project is a 3D-printed cantilevering house, and really it is research based on distributing material along the lines of stress. We created an algorithm that mimics bone growth so really we are depositing material only where it is most necessary and most structurally efficient. Also, as we are designers and architects, it is not a purely structural object, we also tried to design with it and create our own forms.

Marcus Fairs: So rather than printing out a standard building typology, you are looking at what the 3D printing technology can do to optimise the use of materials and come up with new forms.

Aaron Silver: Yeah, absolutely. We were designing within a certain range of constraints such as transport and the existing size of printers. So the house is ultimately composed of 31 individual pieces, which then interlock in a kind of three dimensional puzzle. They don't need any adhesive because of the fibre structure. They kind of just interlock and stay in place.

Marcus Fairs: So this would be made in sections, in a controlled environment, and then taken to the site?

Aaron Silver: Yeah. So one strategy that a lot of people have been experimenting with is constructing a very large 3D printer on site. The printer is essentially the size of the structure that is being built. But we were interested in working within the constraints of the existing technologies. For us, it made more sense to work within a controlled environment and then take it to the site.

Marcus Fairs: It looks like a bone opened up or Vermicelli or something like that, but apart from the structure, is it waterproof? Is it a viable construction method? Is it liveable?

Aaron Silver: We decided was to leave the fibrous material on the exterior. As you can see, up close, the interior surface is where the waterproofing is. So water is absorbed, and the waterproofing is on the interior. What is not shown in the model is the translucent window membrane which isn't part of the structure.

Marcus Fairs: What material would it be printed in?

Aaron Silver: So this [model] was printed in plastic, plastic powder. But ultimately it can be programmed to accommodate any kind of material. It made sense now to consider just working with the one material, as you can't really print in multiple materials so well just yet. So we also wanted to give ourselves that design constraint, but ultimately we are considering it to be plastic.

Marcus Fairs: And how exciting and how realistic are the opportunities for 3D printing in architecture? Will it transform the way that buildings are built? Or will it be a specialist, one-off, luxury, rich man's thing?

Aaron Silver: Sure. I think at the moment, as you said, kind of luxurious, maybe one-off pavilions, things like that. But I think there really is an interesting future for architecture and 3D printing; because you have great cost savings, material efficiency, things like that, which architects are vastly interested in. That is where 3D printing is really pushing the discipline and architects can really take advantage of this.

Marcus Fairs: And do you have plans to make any of this in 1:1 size?

Aaron Silver: Not as of yet, but certainly we would like to prototype on a larger scale. This is 1:33 scale at the moment.

Marcus Fairs: And these fabrics, what are these? Are these proposed cladding systems or clothing?

Aaron Silver: This was a part of the original research. These are curtains which we were considering either as interior membrane surfaces or exterior, water-resistant panelling and surfaces. What we were looking at was controlling bending and movement flexibility just throughout the geometry itself. On one side you have slightly different geometry to the other, which gives different flexibility on either side.

Here is some more information about the project from Softkill Design:

Softkill Design investigated the architectural potential of the latest Selective Laser Sintering technologies, testing the boundaries of large scale 3D printing by designing with computer algorithms that micro-organize the printed material itself. With the support of Materialise, Softkill Design produced a high-resolution prototype of a 3D Printed house at 1:33 scale. The model consists of 30 detailed fibrous pieces which can be assembled into one continuous cantilevering structure, without need for any adhesive material.

The arrangement of 0.7mm radius fibres displays a range of flexible textures and the ability to produce in-built architectural elements, such as structure, furniture, stairs, and façade, all in one instance. The Softkill house moves away from heavy, compression based 3d printing of on-site buildings, instead proposing lightweight, high-resolution, optimised structures which, at life scale, are manageable truck-sized pieces that can be printed off site and later assembled on site.

Softkill Design is a London based team of architects (Nicholette Chan, Gilles Retsin, Aaron Silver, Sophia Tang) researching new methods of generative design for additive manufacturing. The unique workflow aims to produce intelligent designs which intuitively utilize 3D-print technology. Research was founded at the Architectural Association School of Architecture's Design Research Lab in the studio of Robert Stuart-Smith. Research prototypes were generously supported by Materialise, with additional support from VoxelJet, and Sirris.

Name of the designers: Softkill Design - Nicholette Chan, Gilles Retsin, Aaron Silver, Sophia Tang
Title of the work: Prototype for a 3D-Printed House
Materials used: (3D Print) Laser Sintered Powder, (Base) Foam, MDF Board, Textured Paint
Year produced: 2012
Sponsorship: Materialise

# data[].attributes.attachment_link.description
London architecture team Softkill Design has designed a conceptual house that would be 3D printed in sections in a factory and fitted together on site (+ interview transcript).

# data[].attributes.headline
Organic/Geometric   Everlasting/Ephemeral    Big/Small

# data[].attributes.subject
Organic/Geometric   Everlasting/Ephemeral    Big/Small

# data[].attributes.body
http://www.johngrade.com/

# data[].attributes.attachment_link.description
Middle Fork will be installed in the Seattle Art Museum's Brotman Forum in January 2017. The sculpture has returned home to Washington state after its most recent exhibition at the Renwick Gallery of the Smithsonian American Art Museum in Washington D.C. The first iteration of Middle Fork was fabricated in and debuted at the Seattle MadArt Studio in 2015.

# data[].attributes.body
http://www.maikotakeda.com/

# data[].attributes.attachment_link.description
This is "Maiko Takeda, Atmospheric Reentry" by Silvia Bombardini on Vimeo, the home for high quality videos and the people who love them.

# data[].attributes.body
Pretty awesome sand castle

# data[].attributes.body
Just a short 7 minute video of photographer Kirsty Mitchel's Wonderland series. it shows how she made the organic structures out of paper and other everyday objects

# data[].attributes.attachment_link.readable_text
The design features of Indian stepwells and water mazes are combined in this proposal for a landscaped garden by architecture studio Penda (+ slideshow).

Penda - a studio with offices in Beijing and Vienna - will create the 8,000-square-metre garden for a residential complex in Hyderabad, India, which is also designed by the team and set to begin construction this summer.

The aim is to create a communal space where residents of the 127 apartments can host friends, walk their dogs or simply spend some quiet time away from their living spaces.

The studio's design brings together elements of two traditional Indian landscape features: rectangular pools surrounded by steps, and shallow decorative mazes filled with water.

Penda highlights global water crisis with meadow pathway installation

The stepwells provided the inspiration for a series of tiered planters and benches that frame the different areas of the garden, while the mazes directly informed the strict geometric layout.

"We were always inspired by Indian stairwells," explained studio founders Chris Precht and Sun Dayong, whose other projects include a vision for a bamboo city and a house modelled on a tree stump.

They continued: "It is very rare to find an architectural typology where function and beauty are so intertwined, and a harmony of human needs and environmental impact is so in balance."

The raised elements are filled with different plants, including flowers, herbs and grasses. They also incorporate water features, seating areas and cluster of bamboo.

"Based on Indian water mazes, the steps get shifted to create different sets of atmosphere, from private gardens for a stroll in the park to open plazas for larger gatherings," added the architects.

The layout includes three main routes, suited to different speeds of movement. There is a wide straight path for runners and emergency access, a narrower path for typical walkers, and a more winding trail for dog walkers and casual strollers.

Called Magic Breeze, the project is backed by Indian property developer Pooja Crafted Homes, which is also working with Penda on a tower block in Vijayawada with a customisable facade of hanging gardens and balconies.

Construction work is set to begin later this year.
Project credits:
Client: Pooja Crafted Homes
Architecture: Penda
Design team: Chris Precht, Sun Dayong, Zi Zhi, Xue Bai, Anna Andronova

# data[].attributes.attachment_link.title
Penda combines stepwells with water mazes for garden design

# data[].attributes.attachment_link.description
The design features of Indian stepwells and water mazes are combined in this proposal for a landscaped garden by architecture studio Penda (+ slideshow). Penda - a studio with offices in Beijing and Vienna - will create the 8,000-square-metre garden for a residential complex in Hyderabad, India, which is also designed by the team and set to begin construction this summer.

# data[].attributes.attachment_link.readable_text
Walter Musacchi, originally from Ferrara, Italy, studied architecture at the IUAV in Venice. He completed his studies with a project on the subject of „Empty spaces in the dissolving city". After graduation, he worked in various architects' offices worldwide (Paris, Berlin, New York, Rotterdam and Los Angeles), including with Jean Nouvel and Rem Koolhaas.

In New York he designed various interiors and items of furniture, mostly for fashion houses as Jil Sander and Prada.

In 1998 he was invited to be the lead designer for the first Berlin Biennale.

At present he lives and works in Berlin, where he endeavours to match his own provocative and reductive approach, with the expectations of his corporate and private clients.

Committed to sustainable human development, Walter Musacchi is forever investigating the contradictions of contemporary living in today's continuous stream of rapid global changes.

The ethical design of Walter Musacchi by Stefano Gualdi

Walter Musacchi lives and works in Berlin, a city known to be receptive to all kinds of changes and innovations in society, particularly in the field of culture, nature, contemporary architecture where historical buildings from the most varied of epochs and styles stand - not without ambiguity - side by side. They are "signs" that, when interwoven, form a "complex", heterogeneous and multi-coloured fabric, which has the power to evoke various realities, without discriminating in favour of any particular one.

For Walter Musacchi, born in Emilia-Romagna, Italy, ethics and professionalism are indivisible. As a result, his work rejects pure formalism as well as aesthetic complacency. Rather, he strives to follow a third path that will lead to the creation of both functional and ironic objects, which, as far as possible, connect to the space for which they are intended. In so doing they avoid increasing both industrial production, which today has reached a massive scale, and avoid burdening the environment with new materials.

In this sense Musacchi investigates possible new modes of expression and meaning taking existing fragments and shapes as a starting point- like the DJ does in the field of music. It was in this way that in 2002 the unusual series of furnishing elements and "liveable"soft upholstered furniture emerged. The hybrid, imaginative and totally communicative shapes, as well as the use of recycled material are the hallmarks of the series. This thoroughly provocative stance brings forth not the status, but the actual morphological quality of material, indicating that it is possible to escape the logic of categorical division into "high" and "low". This is achieved by consideration of the seemingly infinite variety of commodities produced and consumed daily by our society.

This technique of "borrowing patterns" from the real world produces works such as „Snock" - a giant stuffed fabric snake which can be knotted at will and changed into various seating elements, for use both in private and public areas - perhaps in a lounge or hall. Another example is „Bouquet", where commercial garden hose is transformed into flower vases, and „PLUG" stackable chairs, made from ordinary industrial foam commonly used in the building trade.

# data[].attributes.attachment_link.description
Walter Musacchi, originally from Ferrara, Italy, studied architecture at the IUAV in Venice. He completed his studies with a project on the subject of „Empty spaces in the dissolving city". After graduation, he worked in various architects' offices worldwide (Paris, Berlin, New York, Rotterdam and Los Angeles), including with Jean Nouvel and Rem Koolhaas.

# data[].attributes.body
Organic/Geometric - Barcelona - BR

# data[].attributes.body
Idk I like the effect it has on light http://pin.it/G-csN04

# data[].attributes.attachment_link.provider_name
designboom | architecture & design magazine

# data[].attributes.attachment_link.readable_text
collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

formed by peeling whole seeds, the husks are a biodegradable and cheap resource.

formed by peeling whole seeds, the husks are a biodegradable and cheap resource.

a small treat is placed into a throttle lever, which is pulled by the feline to retrieve a snack.

a small treat is placed into a throttle lever, which is pulled by the feline to retrieve a snack.

the space features all-white walls, floors, furniture, and fixtures accented with black contour lines to create the flattened look of a cartoon drawing.

the space features all-white walls, floors, furniture, and fixtures accented with black contour lines to create the flattened look of a cartoon drawing.

# data[].attributes.attachment_link.description
collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future. collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

# data[].attributes.body
The Pavelo Mies Van Der Rohe

# data[].attributes.attachment_link.readable_text
The Barcelona Pavilion was designed by Ludwig Mies van der Rohe and Lilly Reich as the German Pavilion for the Barcelona International Exhibition, held on Montjuïc.
The Barcelona Pavilion, an emblematic work of the Modern Movement, has been exhaustively studied and interpreted as well as having inspired the oeuvre of several generations of architects. It was designed by Ludwig Mies van der Rohe (1886-1969) as the German national pavilion for the 1929 Barcelona International Exhibition. Built from glass, steel and different kinds of marble, the Pavilion was conceived to accommodate the official reception presided over by King Alfonso XIII of Spain along with the German authorities.

After the closure of the Exhibition, the Pavilion was disassembled in 1930. As time went by, it became a key point of reference not only in Mies van der Rohe's own career but also in twentieth-century architecture as a whole. Given the significance and reputation of the Pavilion, thoughts turned towards its possible reconstruction.

In 1980 Oriol Bohigas, as head of the Urban Planning Department at the Barcelona City Council, set the project in motion, designating architects Ignasi de Solà-Morales, Cristian Cirici and Fernando Ramos to research, design and supervise the reconstruction of the Pavilion.

Work began in 1983 and the new building was opened on its original site in 1986.

The materials
Glass, steel and four different kinds of stone (Roman travertine, green Alpine marble, ancient green marble from Greece and golden onyx from the Atlas Mountains) were used for the reconstruction, all of the same characteristics and provenance as the ones originally employed by Mies in 1929.

Mies van der Rohe's originality in the use of materials lay not so much in novelty as in the ideal of modernity they expressed through the rigour of their geometry, the precision of the pieces and the clarity of their assembly.

The Barcelona chair
Mies van der Rohe and Lilly Reich designed a chair, especially for the Pavilion, consisting of a leather upholstered metallic profile that over the years has become an icon of modern design. To such an extent, in fact, that the Barcelona chair is still manufactured and marketed today.

Georg Kolbe's sculpture
The sculpture is a bronze reproduction of the piece entitled Dawn by Georg Kolbe, a contemporary of Mies van der Rohe. Masterfully placed at one end of the small pond, the sculpture is reflected not only in the water but also in the marble and glass, thereby creating the sensation that it is multiplied in space, while its curves contrast with the geometrical purity of the building.

# data[].attributes.attachment_link.title
The pavilion - Fundació Mies van der Rohe

# data[].attributes.attachment_link.description
The Barcelona Pavilion was designed by Ludwig Mies van der Rohe and Lilly Reich as the German Pavilion for the Barcelona International Exhibition, held on Montjuïc. The Barcelona Pavilion, an emblematic work of the Modern Movement, has been exhaustively studied and interpreted as well as having inspired the oeuvre of several generations of architects.

# data[].attributes.body
Architecture of the Bahamas

http://www.frommers.com/destinations/bahamas/in-depth/art--architecture

http://www.safaritheglobe.com/the-bahamas/culture/architecture/

# data[].attributes.attachment_link.readable_text
Designed by architect Philip Johnson, the Fort Worth Water Gardens are a modernist landscape of vortex-like pools and futuristic angles.

The park opened in downtown Fort Worth in 1974 on a just over four acre site. The area itself used to be known as Hell's Half-Acre when it was full of brothels and saloons, and the Water Gardens were a way to revitalize the area.

A quiet, meditation pool is surrounded by trees where waterfalls cascade down the walls. Nearby is an aeration pool where 40 nozzles spray 871 gallons of water every minute. The mist from the nozzles creates the illusion of a water bridge connecting one side of the walkway to the other. The pool, however, is 40 feet deep, and attempting to cross the misty bridge would not be advisable. In the middle of the park is a "Mountain" where terraced concrete rises up in a modernist peak.

The centerpiece of the Water Gardens is the Active Pool, where thousands of galloons of water cascades down a 38-foot series of steps and platforms into a vortex. If it appears like a sci-fi landscape, you're not far off, as it was used in a scene in the 1976 film Logan's Run.

The park experienced a tragedy in 2004 when four people died in the pool attempting to save one another. The pool was closed and safety features were added and the pool's water level was lowered to ensure that the sense of descending into a void in the Active Pool is just an illusion of the landscape.

# data[].attributes.attachment_link.description
Designed by architect Philip Johnson, the Fort Worth Water Gardens are a modernist landscape of vortex-like pools and futuristic angles. The park opened in downtown Fort Worth in 1974 on a just over four acre site.

# data[].attributes.attachment_link.description
BetweenMirrors.com | Alt Art + Culture Collective: Colin Christian "TRYPOPHOBIA" at Stephen Romano Gallery

# data[].attributes.attachment_link.readable_text
Dutch designers Tejo Remy & René Veenhuizen have designed a collection of furniture that looks inflated but is actually made of cast concrete.

The series includes prototypes of two chairs, a bench and table that have been cast inside plastic sheeting and reinforced with steel rods and metal fibres.

The prototypes will be on show as part of an exhibition of the designers' work at the Industry Gallery in Washington DC later this week.

Called Hands On, the exhibition opens on 20 March and runs until 8 May.

The following details are from the Gallery:
INDUSTRY GALLERY PREMIERS NEW CONCRETE FURNITURE PROTOTYPES BY DESIGNERS TEJO REMY & RENÉ VEENHUIZEN IN
"HANDS ON" - REMY & VEENHUIZEN'S FIRST SOLO U.S. EXHIBITION
Internationally Acclaimed Designers Remy & Veenhuizen Mark Ten Year Partnership

Industry Gallery will premier four prototypes from a news series of concrete furniture by Dutch designer Tejo Remy, a founding designer at Droog, and René Veenhuizen, his design partner of the past decade, at the opening of "Hands On" March 20, 2010, 6-8PM. This is the first solo U.S. exhibition for Atelier Remy & Veenhuizen and it will run through May 8. The exhibition focuses on the work, largely unknown in the U.S., produced by the designers during the past decade and will feature a dozen items created from concrete, bamboo, tennis balls, Accoya® and old woolen blankets.

The exhibition will introduce four prototypes - two chairs, a bench and a stool - for a series of furniture that appears to be made of inflated fabric, but actually is made from poured concrete. Remy & Veenhuizen cast each prototype as a single piece in individual molds created from waterproof PVC or plastic sheeting. Once assembled, the molds are placed upside down and concrete is poured into the feet. The legs are steel reinforced and the concrete itself contains small metal fibers that add stability. Within two days the works are solid enough for the mold to be cut off; and, within two weeks, the furniture is completely dry.

The concrete furniture prototypes stem from designers' aesthetic that advocates using mundane material. The new works follow a lineage established in 1991 when Tejo Remy created "Rag Chair," "Chest of Drawers (You Can't Lay Down Your Memories)" and "Milk Bottle Lamp", which reused and repurposed basic, discarded and underappreciated materials. Those three works, staples at Droog since 1993, are included in major public and private international collections.

"We wanted to create landscape elements that were tactile and soft, even though they were made from concrete. The original idea was to work with big rubber molds to create a soft appearance," said Veenhuizen. Remy added, "We reduced the size of the works to make them more manageable. Then, as we experimented with the concrete, we became interested in the amount of pressure the concrete put on the molds, and how the end result made that pressure permanently visible."

"These new prototypes reflect the ingenuity, curiosity and inventive use of materials that are hallmarks of Tejo and René's design ethos," said Industry Gallery owner Craig Appelbaum.

# data[].attributes.attachment_link.title
Concrete Chair by Tejo Remy & René Veenhuizen | Dezeen

# data[].attributes.attachment_link.description
Dutch designers Tejo Remy & René Veenhuizen have designed a collection of furniture that looks inflated but is actually made of cast concrete. The series includes prototypes of two chairs, a bench and table that have been cast inside plastic sheeting and reinforced with steel rods and metal fibres.

# data[].attributes.body
Park Guel
Organic and Geometric

# data[].attributes.headline
Iris Van Herpen - Rough/Smooth, Organic/geometric

# data[].attributes.subject
Iris Van Herpen - Rough/Smooth, Organic/geometric

# data[].attributes.attachment_link.readable_text
These prickly looking shoes and accessories by Dutch designer Jólan van der Wiel were formed using magnets and worn during Iris van Herpen's latest catwalk show (+ slideshow).

To create the textured footwear, Jólan van der Wiel combined resin with iron filings and shaped the mixture around a base shoe.

Iris van Herpen uses 3D printing and magnets to form Spring Summer 2015 fashion collection

Before the soft plastic material set into shape, strong magnets were used to pull small portions into spikes across the surfaces.

"What you see on these shoes is that the front has really small spikes and the back has very long ones," Van der Wiel told Dezeen. "The material itself is very soft, almost cuddly. So it looks dangerous but they feel great and are great to walk in."

Each pair of platforms is unique due to the production process. The material behaves slightly differently when manipulated by the magnets due to the arrangement of the filings.

Raised heels project backwards from the sole to appear unsupported. Pigments are mixed into the resin in different quantities and distributions, creating a variety of colours from pure black through to marbled grey.

The shoes were worn by all of the models in Dutch fashion designer Iris van Herpen's Spring Summer 2015 fashion show in Paris last month, which also featured belts, jewellery and clutch bags made in the same way.

Waist belts and choker necklaces both have longer spikes in their centres so they point out further from the front of the body.

This is the second time the Dutch designers have collaborated - the duo "grew" dresses using magnets for Van Herpen's Autumn Winter 2013 collection show last July.

Van der Wiel has experimented with magnetism to create products since launching his Gravity series of stools shaped using the technique in 2011.

He has since produced candlesticks and fantastical architectural models with variations of the same method, which has developed over time.

"We have been practicing more and more, and we are getting better in the detail," the designer said.

# data[].attributes.attachment_link.title
Jólan van der Wiel creates spiky magnetic shoes for Iris van Herpen

# data[].attributes.attachment_link.description
These prickly looking shoes and accessories by Dutch designer Jólan van der Wiel were formed using magnets and worn during Iris van Herpen's latest catwalk show (+ slideshow). To create the textured footwear, Jólan van der Wiel combined resin with iron filings and shaped the mixture around a base shoe.

# data[].attributes.body
Centre of Contemporary Culture in Barcelona by Albert Viaplana & Helio Piñón

# data[].attributes.body
http://miesbcn.com/the-pavilion/

# data[].attributes.body
This would have been the picture didn't realise some women walked infront of me... great.

# data[].attributes.body
Contemporary world architecture in the late 20th century.
https://theculturetrip.com/europe/united-kingdom/articles/the-10-must-see-buildings-designed-by-zaha-hadid/ .
The Pavelo Mies Van Der Rohe

http://miesbcn.com/the-pavilion/

# data[].attributes.attachment_link.title
Geoff Pocock: Geometric, Action & Expressionistic Artist

# data[].attributes.attachment_link.description
http://ourventura.com/geoff-pocock-artist/1436/ Geoff Pocock discusses some of his views on art. Producer: GEORGE ALGER http://GeorgeAlger.com Camera: ALAN ALGER Sponsor: SkyworksMarketing.com

# data[].attributes.body
http://www.atlasobscura.com/places/fort-worth-water-gardens

# data[].attributes.body
Lots of opposition to inspire.

# data[].attributes.attachment_link.description
unfold RYOICHI KUROKAWA Audiovisual installation 2016 3 video projection | 6.1ch surround sound | Tactile transducer Duration: 08'00" Loop

# data[].attributes.body
Your oppsition  should represent a challenge but therefore possibility .

# data[].attributes.attachment_link.readable_text
Dutch designer Christian Heikoop has created a flat-pack furniture collection that is assembled in the same way as a tent.

Currently on display at Dutch Design Week, the range is based on retro camping equipment.

Designed to be easily and quickly put together without tools or screws, the framework of each piece is made from metal tubes that slide into stitched leather sleeves.

The Glissade chair has 12 pieces, including a curved metal rod that forms the back and a rectangular tube that supports the seat and front legs.

Once assembled the chair has a low back and wide seat, with the leather appearing as if it's been shrink-wrapped to the frame.

"I really like the way that camping equipment uses such a select amount of easily accessible materials that are very consistently applied throughout the designs," Heikoop told Dezeen.

"This way there is such an emphasis on the connection: if it's a screw, a weld or a hinge."

The range also includes a pair of benches and a table, each covered in leather of various colours. Heikoop graduated from Design Academy Eindhoven this year and has completed several other projects, including a series of paper masks for fashion label Kenzo.

Five of the best exhibitions to see at Dutch Design Week 2016

"A lot of flat-packed systems can be intimidating and burden you from actually putting them together, without your toolbox," added the designer.

"Creating a straightforward system without any screws, fixings, tools, where you'd only need your hands, takes away this burden," he continued. "Instead it is drawing attention to the dialogue between two materials and their connecting aspect with each other."

This year has seen several designers create fresh takes on flat-pack furniture, from a modular collection designed to rival Ikea in ease-of-assembly to a range of wooden furniture designed to last longer.

Major design brands are also getting in on the act, with the Bouroullec brothers designing a customisable self-assembly sofa for Hay and Normann Copenhagen adding flat-pack lounge chairs to its range.

The entire Glissade collection is on display at the Design Academy Eindhoven graduate exhibition at Dutch Design Week, which takes place from 22 to 30 October 2016.

# data[].attributes.attachment_link.title
Christian Heikoop's leather Glissade chair is erected from metal rods

# data[].attributes.attachment_link.description
Dutch designer Christian Heikoop has created a flat-pack furniture collection that is assembled in the same way as a tent. Currently on display at Dutch Design Week, the range is based on retro camping equipment. Designed to be easily and quickly put together without tools or screws, the framework of each piece is made from metal tubes that slide into stitched leather sleeves.

# data[].attributes.body
Consider the speed of architecture and therefore the speed of  all design.

# data[].attributes.attachment_link.title
Why the buildings of the future will be shaped by ... you

# data[].attributes.attachment_link.description
“Architecture is not about math or zoning -- it’s about visceral emotions,” says Marc Kushner. In a sweeping — often funny — talk, he zooms through the past thirty years of architecture to show how the public, once disconnected, have become an essential part of the design process. With the help of social media, feedback reaches architects years before a building is even created. The result? Architecture that will do more for us than ever before.

# data[].attributes.body
How can your chosen opposition work to compositionally balnce each other, a great example here

# data[].attributes.attachment_link.provider_name
designboom | architecture & design magazine

# data[].attributes.attachment_link.readable_text
collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

formed by peeling whole seeds, the husks are a biodegradable and cheap resource.

formed by peeling whole seeds, the husks are a biodegradable and cheap resource.

a small treat is placed into a throttle lever, which is pulled by the feline to retrieve a snack.

a small treat is placed into a throttle lever, which is pulled by the feline to retrieve a snack.

the space features all-white walls, floors, furniture, and fixtures accented with black contour lines to create the flattened look of a cartoon drawing.

the space features all-white walls, floors, furniture, and fixtures accented with black contour lines to create the flattened look of a cartoon drawing.

# data[].attributes.attachment_link.title
nervous system generates jewelry based on cellular structures

# data[].attributes.attachment_link.description
collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future. collaborating with dayong sun of penda, the MINI LIVING urban cabin in beijing explores a new sense of community for cities of the future.

# data[].attributes.body
Could your opposition be reversed, inversed, flipped or mirrored?

# data[].attributes.attachment_link.readable_text
Kjetil Trædal Thorsen, the cofounder of Snøhetta, argues architects must begin considering indoor space as just as public as outdoor space.

Oslo Opera House, by Snøhetta

Courtesy Andrew Parker

Maybe with the sole exception of railway stations, public space is generally understood as outdoor space. Whether in the United States or in Europe, especially now with heightened concerns around security, there seems to be this determined way of privatizing everything that is indoors, even as we are increasingly aiming to improve access to public space outdoors. But in the layered systems of our cities of the future, we will need to focus on the public spaces that are found inside buildings-and make them accessible.

In 1748, Giambattista Nolli made this wonderful map of Rome where he only had two distinctions-what was private and what was public. Whether it was indoor or outdoor, whether there was a church space or a plaza, it didn't really matter. It told a different story of the city. There are some examples from today-the roof of our Oslo Opera House is outdoors, for instance, but it's on the building and publicly accessible. Opening up the Louvre and trying to let people walk through it 24 hours a day-as with the museum's recent takeover by the artist JR-is another way of not making a distinction between indoor and outdoor public space.

These kinds of programming decisions are essential to the way new architecture typologies develop, and architects should definitely have influence on them. In certain situations, accessibility to indoor public space is enough. In other situations, you have to define the program for the particular indoor or outdoor spaces to be adequate. To use the example of the roof of the Opera House in Oslo again, it was basically programmed only for one thing, and that's to be walked on, for a promenade. But on occasion, it could be reprogrammed to hold an outdoor concert. Or it could be reprogrammed against the original intention by skaters or by a biker who actually drives his motorbike up and down the roof.

In the layered systems of our cities of the future, we will need to focus on the public spaces that are found inside buildings-and make them accessible.

Maybe the outdoor can be programmed in such a way that it unlocks the possibility of the public spaces indoors. There's always a bit of urban planning in designing interiors. There's always a bit of interior design in an urban space. There's no question that interior architecture is professionalizing itself as well-interior architects are not seen as decorators of interior space anymore. The same is true of landscape architects. And those are only the traditional design professions.

Every architect doesn't need to be trained in every specialized profession, but what is lacking is an overall understanding of how people should collaborate. That's why we've introduced transpositioning as a working method in our office, where you not only sit around tables with a lot of specialists, but you actually swap professions during creative workshops. The only thing that can save the essence of architecture is some kind of collaborative model like this.

By adopting this model, both in education and practice, I think we would be better equipped to fully understand the effects of programming. We are usually generalists enough to understand that a change of use is sometimes demanded and that we shouldn't try to desperately hold on to certain kinds of programming. But the profession itself should, in my opinion, really contain that kind of knowledge, simply because it's so tightly connected to the actual design task. How can we change the relationship between buildings and the public unless we're directly involved in programming ourselves?
Kjetil Trædal Thorsen is a founding partner at Snøhetta. The firm's recently completed projects include the Ryerson University Student Learning Centre in Toronto and the expansion of the San Francisco Museum of Modern Art.
Courtesy Calle Huth

Categories: Ideas, Interiors

Comments

comments

# data[].attributes.attachment_link.title
Opinion: The Next Great Public Spaces Will Be Indoors - Metropolis

# data[].attributes.attachment_link.description
Kjetil Trædal Thorsen, the cofounder of Snøhetta, argues architects must begin considering indoor space as just as public as outdoor space. Oslo Opera House, by Snøhetta Courtesy Andrew Parker Maybe with the sole exception of railway stations, public space is generally understood as outdoor space.

# data[].attributes.body
The exhibition, curated by Philip Aldovini, will involve the five halls of the Palazzina dei Giardini in Modena, each of which will be inhabited by kinetic installation built with simple materials - cardboard boxes, cotton balls, metal cables, wood - and accompanied by mechanical systems that generate sounds and noises.

# data[].attributes.attachment_link.description
Inaugura il 22 ottobre a Modena, nell'ambito di NODE festival, la mostra personale dell'artista svizzero Zimoun, che nelle sue opere unisce sound art e architettura degli spazi.

# data[].attributes.body
Can you see how this Viktor and Rolf collection shows the boundareies blurring bewtween, fashion, costume art and architecture?

# data[].attributes.attachment_link.readable_text
More than 35 haute couture pieces from the archive of Dutch fashion designers ￼ Viktor & Rolf feature in an exhibition at Melbourne's National Gallery of Victoria.

The show, titled Viktor & Rolf: Fashion Artists, is the label's first in Australia.

It brings together pieces from its ready-to-wear collections and installations, including a striped dress embroidered with crystals, a coat with the word "no" stitched into the collar, and a sculptural white headpiece and dress.

The label's ongoing Dolls series - tiny mannequins dressed in miniature versions of well-known Viktor & Rolf looks - is also being shown.

Twenty-one dolls in total are on display, each one handmade. The oldest dates back to 2008, when the designers created the first doll for The House of Viktor & Rolf exhibition at London's Barbican.

Each collection is marked by a new doll, dressed in a key piece.

"With exquisite craftsmanship and dreamy silhouettes, sometimes made from tinkling bells or red carpet, the Dutch fashion artists Viktor & Rolf have been creating wearable art for the past twenty years in a unique, singular style," said the exhibition's curator, Thierry-Maxime Loriot.

In addition to clothes, the gallery has put together runway footage showing the label's often-intricate set designs - several of which have been created by Studio Job.

Viktor & Rolf dresses models in wearable paintings during Paris couture show

An exhibition aimed at children is also being hosted at the gallery, focusing on the wedding dress the label created for Princess Mabel of Orange-Nassau.

Younger visitors are encouraged to design their own fashion accessory inspired by the dress, using paper folding and layering.

"Viktor & Rolf stretches the definition of both fashion and art," said the gallery's director Tony Ellwood. "Their boundary-pushing designs challenge the way fashion is developed, presented and disseminated with masterful craftsmanship, intellectual rigour and an ironic sense of humour."

The label's founders Viktor Horsting and Rolf Snoeren set the fashion house up in 1992, and have become known for their "wearable art" philosophy.

Collections have ranged from sculptural white garments with Cubist-style faces to dresses made from broken picture frames.

Viktor & Rolf's 2016 collection was constructed from shreds of fabric left over from previous seasons.

Viktor & Rolf: Fashion Artists opened at the National Gallery of Victoria on 21 October 2016 and continues until 26 February 2017.

# data[].attributes.attachment_link.title
Viktor & Rolf shows two decades of work in first Australian exhibition

# data[].attributes.attachment_link.description
More than 35 haute couture pieces from the archive of Dutch fashion designers ￼ Viktor & Rolf feature in an exhibition at Melbourne's National Gallery of Victoria. The show, titled Viktor & Rolf: Fashion Artists, is the label's first in Australia.

# data[].attributes.headline
Balancing the oppositions of formality and functionality

# data[].attributes.subject
Balancing the oppositions of formality and functionality

# data[].attributes.body
Notice ho w great design can fulfill seemingly conflicting criteria: "The Children Toy Library of Bonneuil-sur-Marne is a public building as well as a playing space for children: the project represents the opposition between monumentality and conviviality, a dialogue in

# data[].attributes.attachment_link.readable_text
Paris-based LAN Architecture have renovated a building on a 1960s social housing estate in Bonneuil-sur-Marne, France, to create a toy library for children.

The project involved creating a free standing, cast-concrete shell around the existing two-storey building. Update 30/07/08: see interior photos of the project in our new story.

The following information is from the architects:

--

Children Toy Library - Bonneuil-sur-Marne, France
LAN Architecture, Paris.

The Children Toy Library of Bonneuil-sur-Marne is a public building as well as a playing space for children: the project represents the opposition between monumentality and conviviality, a dialogue in the same construction.

It is located in an area where social housing from the 60's have a strong physical and social impact. We designed exterior and interior spaces respecting both strategies.

The building façade, as a shell, is linked with its urban context, translated into its shape, monolithism and strictness. We wanted to create a strong urban symbol, disconnected from its environment and whose shell could protect its core and participate to the regeneration of Bonneuil-sur-Marne social structures.

Rehabilitate - Renovate
Architecture alteration: towards the shell

The Children Toy library of Bonneuil-sur-Marne was created in a crossed reflection on several axes:

Changing destination and utilisation of an existing building

Conception of a playing area for children

Creation of a public equipment in an unstable area through a small scale project compared to the surrounding buildings

Confrontation with a very restricted budget (originally planned for internal arrangements)

We decided to set up an unscaled and timeless design, a solid mass object, an urban symbol able to separate itself from its environment, that is able, like a shell, to protect its contents; a volume that seemingly always existed, looking-like a bunker or a vernacular construction.

A new skin for an old body
Our strategy was inspired by a medical logic of intervention. The creation of a supplementary freestanding skin allowed us to control the interface between exterior spaces, building and interior spaces, but also to answer the requirement to create spatial benefits.

The new facades juxtaposed to the existing building, create the alteration, adding a monumental entrance, a new open courtyard on the first floor, and supplementary surface for administrative spaces, saving the original concrete structure. The shell is a green-tinted raw concrete cast into coffering simulating wood slats.

The opposition between the hermetic and closed outside and the coloured internal spaces represents another interest of the project. Children play in a sort of cocoon, rich in light variations, rising up over the two levels, in a simple, functional and intimate scale volume.

# data[].attributes.attachment_link.title
Toy library in Bonneuil-sur-Marne by LAN Architecture

# data[].attributes.attachment_link.description
Paris-based LAN Architecture have renovated a building on a 1960s social housing estate in Bonneuil-sur-Marne, France, to create a toy library for children. The project involved creating a free standing, cast-concrete shell around the existing two-storey building. Update 30/07/08: see interior photos of the project in our new story.

# data[].attributes.body
something normally small and handmade becomes industrial and physically huge

# data[].attributes.attachment_link.title
Mobile Studio Architects creates giant flip-books in the forest

# data[].attributes.attachment_link.description
London-based Mobile Studio Architects has collaborated with students at BEAM summer camp in New Hampshire to create a series of oversized flip-book devices that depict fictional forest tales. Titled Universal Play Machine, the project utilises the traditional flip-book animation technique but on a much larger scale.

# data[].attributes.headline
Artist, architect, designer, interior designer and sculptor- Not Vital 

# data[].attributes.subject
Artist, architect, designer, interior designer and sculptor- Not Vital 

# data[].attributes.body
Go and visit this at the Sculpture park!!

# data[].attributes.body
Take note of how these designers articulate their thinking and making.

# data[].attributes.attachment_link.description
This is "ICON MAGAZINE" by iconeye on Vimeo, the home for high quality videos and the people who love them.

# data[].attributes.body
Use these to find relevant research, e.g artists, designers and makers as well, reinterpre and respond to their ideas:

Remember Picasso once said "good artists borrow , great artists steal"

www.dezeen.com

www.iconeye.com

www.domusweb.it

www.dwell.com

www.metropolismag.com

www.craftscouncil.org.uk/magazine/issues/

www.designboom.com