Zagato has revealed two special projects that pay tribute to Aston Martin’s 100th Anniversary: the DB9 Spyder Zagato Centennial and the DBS Coupé Zagato Centennial, commissioned by private collectors.
The DB9 Spyder Centennial was conceived for the well known American car collector Peter Read, while the DBS Coupé Zagato Centennial was delivered to a young and prestigious Japanese entrepreneur.
In 2001 Dr. Ulrich Bez approved a design for the DB7 Zagato, which was inspired and financed by the Zagato team, comprising of Andrea and Marella Zagato and Peter Read, a long time enthusiast and collector of Aston Martins.
Due to the success of the DB7 Zagato (all 99 units were sold at the Paris Motor Show prior to production) and with the approval and collaboration of Aston Martin, the same team designed, developed and produced a one-off DB9 Spyder Zagato Centennial.
This creation pays tribute to the heritage of Aston Martin’s Centenary. As Peter Read explains, “The DB9 Spyder Zagato Centennial perfectly merges Aston Martin and Zagato’s DNA by combining the elegance of design, typical of Zagato, with the soul, power and prestige of Aston Martin, all developed over the last 100 years. This car personifies the timelessness of the Aston Martin/Zagato marque.”
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.
by Stamberg Aferiat Associates
Unlock Richard Meier’s geometric system and expand upon it. Adding on to this Richard Meier designed house was a challenge. In studying the plan for this structure, we saw that it was quite different from Meier’s other houses. Unlike his other projects, which are collages, we saw this design as a clear, complete, somewhat locked, geometric system. The plan for this house consisted of two exquisitely carved rectangles rotated upon one another. The client felt that each room was too small and wanted to increase the dwelling space. At first, we could not see how to add to the house without destroying it.
But then looking at subsequent Meier designs we saw that, like this one, many of them sprouted landscape elements as extensions of walls. When we extended the walls of the rectangles into the landscape, we discovered the key that opened the system, allowing us to easily add to them without compromising the original.
Opening a Closed System
A 3,000SF Addition to an
Existing Modern House
Designed by Richard Meier
Concrete Stucco, Lead
Copper, White Oak
Consultation, Interior Design,
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.
China is good at creating big things – from wind farms and rubber ducks to gigantic batteries. The latest super-sized project to spring up in the nation is the largest free standing building in the world – the New Century Global Center. The new super-building is 100 meters high, 500 meters long and 400 meters wide, with a floor space of 1.7 million square meters. That’s big enough to house 20 Sydney Opera Houses, or three times larger than The Pentagon.
The area is set to become a new economic and cultural capital in western China.
The New Century Global Center is located in Chengdu, which is the capital of the Sichuan province in southwestern China. The building, which opened this week, will play host to a wide range of business offices, hotels, theaters, shopping malls, a faux Mediterranean village and family-themed attractions such as a water park called Paradise Island.
The building is designed to be the crown jewel of a newly rejuvenated area of Chengdu called Tainfu New District. Chengdu’s subway line is being expanded to serve the new district, and a new airport is expected to be constructed by 2020, transforming the area into the new economic and cultural capital of western China.
Via World Architecture News
Photos by Entertainment and Travel Group
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.”
Ahhh, sneakers. For many, probably the first pair of shoes to ever shod our tiny baby feet.
But who knew that sneakers had quite the interesting history of its own? That this founding footwear was around for a century before people even started calling it “sneaker” (thanks to its creeper-friendly, quiet rubber sole). That it was James Dean who first wore sneakers for fashion, not function.
Apparently, the fashion-forward folk at SSENSE did.
by Katrina Tan via Trendland