All images courtesy of Sibling
‘Walking shelter’ is a mobile habitat that pops out of a pair of sneakers. Conceived by design collective Sibling, the sneakers accommodate a fully-functioning tent, stored compactly in integrated, netted pockets within the sides of the shoe. The shelter expands out from the back of the footwear and fits around the human body, forming a billowing capsule that encloses the user in tented material. The adapted habitat relies on the human frame as a supporting structure, an alternative to nomadic or urban living.
‘Markies’ by Eduard Bohtlingk
A collection of unique art objects are available for accommodation, combining camping and art. Located at the Vliegenbos campsite in Amsterdam, designers Annette Van Driel and Francis Nijenhuis have created Urbancampsite, an outdoor interactive display of temporary art objects available for rent. From august 16 to september 30, 2013, visitors can stay in one of the creative shelters, which have been created by contemporary industrial designers.
Each of the fifteen mobile units placed on the campground are equipped with a comfortable bed, which sometimes doubles as a small living space. In addition, urban campsite offers guests a zone for campfires, hammocks to relax, a wood-fired sauna, and a picnic spot in front of each installation. The site also provides the visitors with general amenities — a restaurant, a well-stocked shop, laundry and a shower. The creative expression stop stop at the art objects: temporary photo exhibitions will be shown on the grounds, one of the fields will be arranged as a sculpture garden, and the terrain’s decoration will be changed regularly.
With its compact, tented roof and folded floors that triple in dimension, the ‘Markies’ cottage designed by Eduard Bohtlingk is as mobile as a caravan. It features a bedroom with a canvas privacy divider, a sitting room, and a small kitchen fitted with a stove, sink, table, and multiple storage spaces. It is available for a maximum of four people, and rents for EUR 80 per night.
‘Polaris M’ is a tubular space, made out of an old polyester silo, that serves as a temporary shelter. The spaceship-like structure, designed by Boris Duijnevel, has a small table, which opens up into a bed, and two padded benches inside. It is available for a maximum of two people, and rents for EUR 80 per night.
This large purple sperm is blown up to extreme proportion. visitors enter through the head of the sperm where they will find a bed and a small desk fitted inside. It is available to rent for a maximum of two people, for EUR 100 per night. ‘Darwin’ is designed by Atelier Van Lieshout and was part of his exhibit ‘Infernopolis’ at submarine wharf in Rotterdam.
This mobile camp is a suspended geometric structure, with an entryway built into the front. The swinging shelter by Boomhuttenfest sleeps 2 people and rents for EUR 60 per night.
We have just seen that Herzog & De Meuron in collaboration with local firm TFP Farrells have been chosen as the winning design team for ‘M+ museum’, a major new institution to be built in the burgeoning West Kowloon cultural district. The 60,000 square meter building will be sited on Hong Kong’s Victoria Harbour waterfront and execute cultural programming on par with New York’s MoMA and London’s tate modern. The overall shape of M+ is informed by a dip in the site and will feature a sunken exhibition area that will feature large-scale installation, sculpture or performance. The museum will be home to the donated Sigg collection, one of the largest and most exhaustive collections of contemporary Chinese art. Aside from the 1500 works provided by the collection, the cultural center will also highlight seminal works of art, design, architecture and the moving image from Asia and around the world.
NIKE: free flyknit running shoes
all images courtesy NIKE
This week in Oregon has taken place the 2013 NIKE innovation summit, as the brand unveiled the new NIKE free flyknit running shoes. The NIKE free flyknit will be available globally from august 1st, we have just preordered it now!
Sean McDowell, creative director of NIKE running, tell more about the new shoe:
Please could you explain the concept behind free flyknit?
NIKE free flyknit is an expression of natural performance principles, combining a supportive, sock-like upper and a flexible midsole and outsole that move with the body. The compression fit brings the foot closer to the sole for better lockdown and propulsion.
This shoe is about enhancing what nature gave us – humans were ‘designed’ to run on soft terrain but now most running is done on hard surfaces, this shoe feels so light and so well cushioned it’s as close to running in a sock as you can get – so to your mind your feet feel ‘free’ – but it also provides all the support you need.
How does this shoe follow on from your recent innovations in running shoes?
SM: It’s another example of a continuing trend in running – where the equipment be it shoes or apparel are moving with the body. We used to put more things on shoes to give you support and stability and now we are freeing things up. New materials like flyknit and flywire allow us to strip away anything that’s unnecessary and keep the shoe simple in terms of the number of parts.’
How long does the design process take?
SM: There is a research period where we meet with athletes and review what they think of our existing footwear – we listen to what they tell us and study how they perform using our equipment. From this feedback and observations we get to work. Then there is about an eighteen-month period before the shoe goes to market. With this product we had time to take a look at the success of the previous free range and the support offered by flyknit and really develop something that raises the bar. We went through fifteen final iterations of this shoe before we settled on this design.
Flyknit details – men’s
NIKE flyknit upper
A new, more compressive NIKE flyknit construction in the shoe upper secures the runner’s foot to the shoe platform. The unique zoned performance mapping pattern of the NIKE flyknit upper is derived from insights on how pressure is exerted on the top of the foot. NIKE sport research lab scientists employed pressure-mapping technology to locate stress areas, and designers used the data to inform the new upper. Zones on the top of the foot have engineered stretch built to enable natural flex, while a tighter weave at the perimeter stabilizes the forefoot and heel. Additionally, elasticized construction fits securely around the ankle for a comfortable, secure fit. By knitting a one-piece upper, NIKE flyknit construction reduces NIKE’s typical upper waste by an average of 88 percent.
NIKE free platform
The advanced NIKE flyknit upper sits atop a NIKE free+ 5.0 midsole, which lies in the middle of the NIKE free spectrum, providing mid-range cushioning. (On a scale or 1-10, 1 is akin to running barefoot and 10 is comparable to a traditional running shoe.) The articulated NIKE free sole is flexible and moves naturally with the foot. Diagonal hot-knifed sipes (strategically-engineered flex grooves) through the arch help ensure natural movement in the mid-foot as a runner transitions stride.
The NIKE free flyknit comes on the heels of decades of biomechanics research and design exploration with the intent of providing the best run possible. The breakthrough combination of a compressive NIKE flyknit upper with a highly flexible NIKE free midsole and outsole adds up to a running shoe that delivers a more natural ride, amplifying athletes’ ability to move quickly and comfortably over distance.
When it comes to her clothing line, Malene Birger is known for her elegant craftsmanship and simple silhouettes, while her flagship Copenhagen boutique has been applauded for its concept and design. So it comes as no surprise that this Danish designer’s home is nothing short of magnificent. The renovated two story farmhouse sits comfortably in the valley of S’Arracó, in south-west Mallorca. Malene renovated in 2011 and imparted her particularly sophisticated touch on the home. Similar to her fashion designs, her home features feminine, classic elements, united with sharp and modern features. The refined black and white motifs blend effortlessly with the homey touches, eclectic accessories and earthy materials. Though we’re not sure how anyone could give up the lavender lined walkway leading to the salt water pool and outdoor terraces, the cozy home is actually up for sale.
What’s new with Prima Sonoro?
We have just seen what this manufacturer of high-performance carbon fibre string instruments has recently unveiled: the new A-Series carbon fibre cello.
Lighter and far more durable than wood, carbon fibre instruments offer more creative versatility to musicians, and the new cello gives a warm resonant sound with notes that speaks clearly across the whole range. For the musician this translates into ease of tuning, quick response and smooth and easy playing allowing for maximum expression. Combining technology, proven form and sound excellence, the instruments deliver enhanced resonance and are built to stand the test of time.
To date, carbon fibre instrument makers have compromised the traditional shape and look of the instruments in order to achieve optimum resonance, creating cellos that look like oversized guitars. Prima Sonoro’s design team has engineered a means of keeping all the positive attributes of hundreds of years of cello designers before them including the ebony fingerboard and the c-bout corners to provide superior resonance and the elegant shaping that makes each instrument immediately familiar to the cellist and the audience.
Alex Jackson speaks to the museum co-founder striving to preserve Poland’s unique story of neon light in the Cold War era
“Neon signs had many important uses both culturally and socially,” explains photographer and co-founder of Warsaw’s Neon Muzeum, Ilona Karwinska. “They became symbols, economically, of success, advertising and satisfying the growing needs of consumers for a multitude of modern products. They also served as socially aspirational symbols in ‘culturally relaxed’ post-Stalinist Poland, where citizens could expect a lively nightlife in the plethora of cafes, restaurants, dancing clubs, theatres and cocktail bars. Eventually,” adds Ilona, “these signs became ‘signposts’, recognisable landmarks, from which to navigate the growing urban landscape – and in turn were embraced by the public as an important part of Poland’s cultural fabric.”
“Fluid threads of light brought a kind of nocturnal magic to the city”
Based in London but born in a small town just outside Warsaw, Ilona Karwinska has been documenting Cold War-era Polish neon signs since 2005, culminating in the opening – alongside her partner, graphic designer David Hill – of the Neon Muzeum last year.
After Stalin’s death, the ‘Khrushchev Thaw’ of the 1950s and 60s ushered in a new era of Polish creative expression, none more vivid than neonisation – free in design, shape, and colour, and significantly influencing other forms of advertising like poster design and typography.
In the words of Professor David Crowley of London’s Royal Academy of Art, these neon
“fluid threads of light brought a kind of nocturnal magic to the city.” Many were the product of the state-run Reklama company (meaning ‘Advertising’ in Polish), who employed or commissioned Poland’s finest architects and graphic designers to produce the signs through the 1950s, 1960s and 1970s.
“Many of these artists – Witold Janowksi, Janusz Rapnicki and Jan Mucharski – came from the famous Polish School of Poster Design,” confirms Ilona. “With deeper research of recently uncovered archives, we are now connecting many more well-known designers and architects with the neonisation program,” she says.
The first of its kind in Poland, it the Neon Muzeum exhibits an extensive archive of Ilona’s photographs alongside original blueprints of the signs. Indeed, Karwinska has been credited with starting a new “school of neon,” such has been the popularity of the Neon Muzeum: “The reaction to our initiative and to Neon Muzeum has been overwhelmingly positive and supportive,” confirms Ilona. “We recently participated in the European Museum Night (where museums across Europe open their doors to the public for one evening) and had over 16,000 visitors in a single night, breaking records in Warsaw.
“I saw them as fascinating and photogenic; decaying objects that in some way reflected the transience of human life”
Sadly, although popular, the world that Karwinska and the Neon Muzeum champions is one that’s fast disappearing from Poland’s rapidly changing cityscapes. “David first drew my attention to these iconic neon symbols,” Ilona recounts. “His interest came from a deeper creative fascination with neon, typography and architecture. I saw them as fascinating and photogenic; decaying objects that in some way reflected the transience of human life and what we leave behind. The first neon to be photographed was meant to be BERLIN. However, when I arrived to take the photograph it had been removed. I made some enquiries and fortunately saved the sign from destruction.”
Consquently, that experience prompted the pair to ensure that the Neon Muzeum would also dedicate itself to the preservation of original signs in addition to displaying them, something that Professor Crowley sees as preserving “a unique and significant moment in Poland’s history.”
Ilona recalls how BERLIN “really started the whole collecting process. So many signs were being removed and destroyed it was hard to intervene and save every one. Eventually when we had enough to consider a permanent collection.”
The conservation and preservation of neon signs is not for the faint-hearted, as Ilona explains: “the cost is enormous. Fortunately we’ve had a number of generous sponsors and donations over the years that have allowed us to renovate a large number of neons in our collection. We use specialists to repair the old neons, one such company being Reklama and was the company that originally made the signs back in the 1950s, 60s and 70s.”
As it’s such an enterprise to find and restore the old neons, touching human stories attached to their salvaging have been numerous. “Yes, there have been some quite serendipitous moments over the years,” says Ilona, “but I think my favourite was when we gave the BERLIN neon back to Reklama to renovate and discovered they’d made the sign originally; the same – though now much older – men involved in its creation in 1974 were amazed to see it back, and could work on its restoration.”
Steam-O is a modern cruiser that takes inspiration from the iconic steam locomotives of the past, applying the signature aerodynamic shape to its stark frame. In classic 1930s style, the bike sports a leather seat with spring suspension, an oversized headlight with chrome and bronze polish, and choo-choo style rims. The main feature, however, is a pushrod drivetrain like that of locomotives from the time. This unique power system and distinct attention to detail set it apart from other cruisers new and old.
Pedaling torque is transmitted by bearing on shaft and coupling rods. Coupling rods move in a vertical motion as well as horizontally as the crank-arm rotates. The same shaft at the rear wheel receives the torque ration 1:1. To gain a useful travel speed it needs a small gearbox (about 1:6 ratio depending on the crank arm length and rear wheel size).
Design: János Insperger
Paris-based designer Arik Levy has created Jar RGB for Lasvit.
Jar RGB is a lighting project connecting thin colorful glass blowing techniques and the idea of RGB color mixing. Using white glass for one of the hanging jars allows it to turn into a large light bulb generating the light for the entire fixture. Observing one jar through another and the space surrounding them gives one a unique and everlasting discovery of color superimposition.
Designer: Arik Levy
The Lamborghini Sesto Elemento, first rendered in 2010, has been revealed in the flesh and tested on the open road. This sharp Italian supercar was once just an idea, but it’s ready to break records and pocket books here in 2013. The Lamborghini Sesto Elemento is powered by a 570HP V10 engine that can accelerate to 60mph in just 2.5 seconds, one of the fastest acceleration times we’ve ever put down in virtual print. It does so by fusing that engine to a lightweight body design, weighing just 2200 pounds next to the curb. With this incredible power comes a design of its own, showing off that signature Lamborghini sharpness. Check out the video below to see the prototype in action. We were originally hoping this one would be more than just a rendering, so we’re thrilled to see it in the flesh.