The Taavi Chair, chair designed by Minnesota-based American architect David Salmela and manufactured in Duluth, Minnesota by Loll Designs, is an excellent example of sustainable design. The chair, with its elegant, simple design, is made, on average, from a common household item: milk jugs. Each chair is made from roughly 256 of these recycled milk jugs. Milk jugs, made from high-density polyethylene (HDPE) are highly recyclable, with a chemical composition that lends itself to molded, weather-resistant outdoor furniture.Taavi is inspired by low profile lounge chairs of Mid-Century Modern lore, perfectly suited to outdoor contemplation and leisure. This chair, aside from being formally streamlined and minimal, is also inherently sustainable: it is made from recycled materials that can be recycled once again, features interchangeable, replaceable parts, and is fabricated in America. Furthermore, the manufacturing process itself is based on ‘lean manufacturing’ principles, economizing material, labor, and mitigating industrial byproducts. This chair is an example of sustainable, American-made design and manufacturing. Read the rest of this entry »
Breakfast New York City is an interactive installation in Midtown Manhattan that both mimics and responds to interactive movement. Located that the intersection of 32nd Street and 6th Avenue, this installation is a revival of an antique sign technology that utilizes over 40,000 metallic spinning dots on a computerized surface to broadcast messages, including scrolling text and images. Because of its analog technology, the mechanism that is analogous to digital pixels, actually mimics the movement and rotation of pistons on a mechanical engine. The dots are either black or white, depending on which side is exposed, creating a binary that, when taken in aggregate and seen from afar, render images and text. This literal movement, however, from black to white, is done so through mechanical means, creating various clicks, like those made on a typewriter. Read the rest of this entry »
A building dedicated to the art and experience of film-making, Amsterdam’s EYE Film Institute is an attempt to bring social activity to the movie-going experience. The structure, located on the banks of Amsterdam’s lj River, across from the Centraal train station, contributes to the city’s burgeoning waterfront cultural scene. The facade’s geometric formations, simultaneously chaotically-faceted and predictably-tessellated, are made from pressed aluminum tiles providing a compelling visual carpet of aesthetic expression. The building, designed by Austria’s Delugan Meissl Associated Architects and dubbed ‘The Oyster’ by locals, houses the EYE Film Institute’s film archives, which enjoy a healthy rotation both on the theatre’s silver screen, as well as along the interior walls, where they are projected and displayed for the viewer’s enjoyment. A social component is added when viewers are allowed to pause frames, compelling one to study the details of each still. Read the rest of this entry »
The Vortex Chandelier is in line with the series of furniture pieces, which is also a collaboration of designers Zaha Hadid, Patrik Schumacher and Sawaya & Moroni. The Chandelier’s Opaque surface etches two transparent acrylic light spirals and a recessed LED light strip provides animated and programmable light sensations. Its complex curvilinearity follows a double helix connecting its beginning to its end and therefore forming an endless ribbon of light. In plan the object resembles a star with its protrusions pointing outwards from the center, emphasizing an imaginary centrifugal force. Read the rest of this entry »
Italian designer Marco Stefanelli infuses natural objects with a delicately abstracted presence of the human hand. These chairs, made for the 2012 Fuorisalone Milano exhibition contemporary intervention through rustic materials. His small incisions of light, cut, filled and sculpted from and into these existing blocks of tree stumps represent the designer’s meticulous sensibility. Each log undergoes a linear and straightforward transformation involving the formal evolution of a predetermined incision that is graphed on the stump’s exterior surface. Those lines are carefully traced with the blade of a saw and the resultant carving is removed. This piece is cast in acrylic and inserted to the log, holding in place lights. These internalized lights illuminate the interior flesh of the stump,reflecting the color of this heartwood through the acrylic cap. The light emitted through each acrylic scar varies depending on the type and age of the wood in question, glowing anywhere from pristine white to warm yellow to dingy orange. Read the rest of this entry »
Undulus is a modular lighting system designed by London-based artist Scott Jarvie. It’s inspired by the beauty of cloud formations. It can be installed individually, in groups or in rows depending on the lighting requirements of the space. It provides a vertical directional light with a diffuse horizontal glow, utilising fluorescent tube bulbs, which have a number of benefits, including energy efficiency, low cost, long life in service and wide availability. Unlike compact fluorescent bulbs you are not required to dispose of the electronic starter every time you change a bulb. Read the rest of this entry »
Designed by San Francisco-based artist Mary Button Durell, this body of work uses only tracing paper and wheat paste as material. At first glance these pieces appear to be built onto a rigid wire frame, however, the process is much more organic and the structure is created from hand building. Individual cells or cones that comprise most of the pieces are first formed over molds of various shapes and sizes and then joined together using wheat paste cell by cell. Additional layers of paper and paste are then added for strength and reinforcement which creates the net-like structure around the individual cells.
The translucent quality of the tracing paper allows light to play a significant and dynamic role in the work. In combination with the physical structure of the work, this translucent quality creates an interior, as well as exterior, perspective. In certain light, however, the translucency of the paper appears to have the visual characteristics of more solid materials, such as oyster shell or marble. Read the rest of this entry »
By drawing from our historically predominant obsession with the heavy and the permanent, La Voûte de LeFevre Installation re-examines our current addiction to the thin. The rapid, efficient and surface-oriented digital fabrication is used as a modern equivalent of ancient stone carving, marrying the two major architectural parameters – surface and volume. Designed by the New York based Matter Design, the project was preceded by an extensive research dealing with the economically friendly sheet material, while maintaining a common thread of a dedication to volume. Read the rest of this entry »
What makes the Glass Cast design unique and engaging is the manufacturing process itself. Created in cooperation between Wes McGee of Matter Studio Design and Catie Newell of Alibi Studio, it is part of a wide research on glass processing. The final form evolved through an investigation of two methods of working: hot glass blowing and warm glass slumping. The design process and its tools, including custom manual forming tools and a reconfigurable slumping kiln, are as significant to the work as the resultant glass components. Casting techniques and the limited range of material available to work at the high temperatures necessary to form glass are the basis of the research. Such tools construct environments to control the thermal performance through time-based processes, choreographing the work and physical mediations.