Opinion: in his latest Opinion column, Sam Jacob argues that objects tell us more about ourselves than literature or imagery and sets out his manifesto for "a culture of design informed by archeology and anthropology". (more...)
Our second story today featuring products presented like model kits is Italian designer Fabio Novembre's window installation for Tommy Hilfiger at La Rinascente department stores. (more...)
Carl-Viggo Hølmebakk - Viewing apparatus, Luster 1997. A simple but powerful project that addresses some very pragmatic needs. Located at the Sognefjell overpass, the viewing platforms (3 total) are dotted along the highest elevated road in Norway, which is a heavily traveled tourist route in the warmer months. Due to the expansive vistas along the road, visitors spend much of their time outside of the car, either walking to a desired view-point, or standing outside their car to get a picture. Either situation presents a concern for the municipality, both ecologically with damage done to the terrain, and in regards to safety for those stopped along the busy roadway.
To address these issues, Hølmebakk’s solution was to insert architectural follies at key areas along the route. Each has a similar foundation plan, circular platform, and apparatus for viewing or displaying information to maintain a common language. The “conspicuous” appearance of the designs, an almost scientific layering of pivoting sheets of glass, aims to entice people to a central, contained area. The multi-layered glass panels create refracted, distorted, and reflected images of the mountain range, at times providing a glimpse of landscape outside the periphery of vision, other times obscuring what is right in front of you. This play of imagery immediately acknowledges the presence of the man-made object by providing an impossible collage of vistas, but does so through an abstracted appreciation of the area’s natural beauty (similarly).
"One of the beautiful aspects of being a tourist is the privilege of constantly changing roles, between the one of the participant, and the one of the onlooker. Many physical arrangements for travelers - not least in Norway - make these roles obscured."
Spanish designer Carlos Ortega has designed a chair using cork called Corkigami.
As we started to imagine a seat made entirely out of cork, everyone said it wouldn’t support the body weight: then we realized we had a challenge to work on!
Cork is a very flexible material, and it is also quite strong. We found it has similarities to paper and other natural materials sourced from trees. Corkigami chair aims to take these properties to the limit.
For the shell structure, we gain strength by pressing flat four layers of 4mm thick cork using water-based pva glue. Then, we cut the shape of the flat material to be able to bend it and glue it again on a simple curved former.
The result is a shell structure strong enough to hold the body weight, that is also visually appealing, lightweight and sustainable.
Design: Carlos Ortega Design
Christopher Duffy has designed the Surf-ace Table and Bench for Duffy London.
“You can’t stop the waves but you can learn to surf.“ Jon Kabat-Zinn
Surfs up! and dinners on the table, the surf-ace table is made using traditional surfboard manufacturing techniques giving this table the same strong visual language as classic balsa wood surfboards.
Wood has been the material used in the construction of surfboards since the ancient Hawaiians, This table is not only beautiful to the eye but also to the touch, its sumptuous curves and edges are a treat to the senses as your hands glide over the table.
Materials: Solid wood and veneer from Forestry Stewardship Council managed forests and other controlled sources.