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2011-9-25 4:20:02
Here are some more photographs of Zaha Hadid's recently completed aquatics centre for the London 2012 Olympic Games, taken by UK photographers Hufton + Crow.
Six curved concrete diving boards stick out like tongues across one pool at the end of the main hall, beneath an undulating wave-like roof.
The competition pool is also located in this hall, which will seat 17,500 spectators during the games.
Competition: we've teamed up with London designer Max Lamb to give readers the chance to win one of five signed copies of his new book China Granite Project II.
The 112-page book documents the making of his second collection of furniture that's cut from granite in a Chinese quarry.
Read our privacy policy here.
This competition is now closed. Five winners will be selected at random and notified by email. Winners' names will be published in a future edition of ourDezeenmail newsletter and at the bottom of this page. Dezeen competitions are international and entries are accepted from readers in any country.
Subscribe to our newsletter, get our RSS feed or follow us on Twitter for details of future competitions.
Here are some more details from publishers Everyday Life Books byApartamento magazine:
China Granite Project II
This book documents the making of China Granite Project II – a collection of furniture by Max Lamb realised in October 2010 using an igneous granite known as Sesame Black native to Fujian Province, China.
A book published by Everyday Life Books by Apartamento Magazine launched during Design Miami/Basel in June 2011 to accompany Max's solo exhibition with Johnson Trading Gallery.
So you want to live in New York City just off Central Park? Prepare to cough up a few thousand dollars a month … or find a fabulous little 12-by-7-foot hole in the wall for just seven hundred dollars and learn to live a little differently, as this industrious writer has done.
In this video, we get a sneak-peak tour of life with Felice Cohen in a place where storage is sacrosanct … but bonking a head on the ceiling when waking is a real risk, and going to the bathroom requires wedging oneself onto the seat sideways.
Building up is critical and as she points out (only half joking) most New Yorkers use the stove as a supplementary closet anyway – conventional cooking is out of the question, so a hot pot and cold eats are standard fare. Still, there is some separation of activities – a work chair versus a desk chair, for instance.
A little refrigerator has to be sufficient, fewer clothes can be owned and book choices become precious decisions when both professional and personal space are in limited supply. This is just a work in progress, though, and a learning process – perhaps the basis for some future writings as well.
This tripod seat has more than one clever twist – beyond looking solid then sliding up into a compact, flat-packed form, it uses the sitter's weight to its advantage, growing more stable as additional pressure is added from above.
While it is neat and creative, this is more than just another shock-and-awe object – it would work in multiple materials with the same shape and functionality, stores well, uses standard fasteners and is constructed in a durable fashion to boot.
This graduate student design byJack Smith could theoretically hold more than a few people – though fitting them on there is obviously a bit of a trick.
On a hot summer day, there is nothing like taking off your shoes or using sandals to expose your toes for a walk through a low garden or lawn. Taking it (literally) to the next level, sod-upholstered couches are a great way to cool down with a book in the backyard.
In Black Rock City, Nevada, this author even saw (and sat in) a grass couch set up in the middle of the desert – perhaps not the most sustainable design solution, but it sure was comfortable (and on very hot and dry days: even better when freshly watered).
Note: for most arid climates, it might be a bit more eco-friendly to just use something of the astroturf variety (though it sounds a little scratchy, to be honest). Still, it saves that pesky problem of trying to mow in difficult corners or up vertical green surfaces.
Best of all, though, anyone can build a sod sofa for themselves right at home – and perhaps an ottoman, coffee or side table to go with it. Build a pair of benches and you could make the perfect above-but-on-the-ground picnic spot.
The 'Rocker' rocking horse designed by Nipa Doshi and Jonathan Levien is a great addition to the new collection of children's furniture from Richard Lampert.
This plastic hourglass-shaped body rests simply on two wooden runners, providing hours of rocking fun, and, at the same time, producing a wonderful design object.
Many things of interest to young children are not figurative but simply everyday objects that are not intended for play! Children find their own imaginative purpose for any object already in the home. This observation prompted Doshi Levien to create a 'Rocker' that is like a found object, an improvised ride.
Doshi Levien is a London based design office, established in 2000.
Galerie BSL is exhibiting part of its outstanding collection of vintage Italian lights with a selection conceived around Gino Sarfatti.
Gino Sarfatti "n°1063"
"...For many specialists, Gino Sarfatti, creator of hundreds of models, is 20th century's greatest lighting designer. "I have never been interested in form,"* he confesses, defining himself as an artisan. Everything starts with the bulb for this great chrome stand enthusiast who invented a lamp kit to change as you wish into nine different types of lighting, wall light, reflector, etc.
Gino Sarfatti "Moon"
Gino Sarfatti occupies a core place in this exhibition. The most spectacular piece and the most important: the large n°2068 ceiling light designed in 1952. With its thirty lights, it conjures up a modern castle, a church candelabra or the crown of candles worn by young girls in the procession during the Festival of Light in Nordic countries. Everything is sober, meticulous, but also ethereal with Sarfatti, who chooses to leave the wire apparent "because you have to be able to look at the reason for the lamp."* Amongst others is the extremely rare wall light n°194 (1950) in brass and lacquered metal, the audacious lamp n°1063 which totally changed the idea of domestic lighting (Compasso d'Oro in 1954, prestigious Italian design award), the table lamp n°604 called Moon (1969), with a scattering of micro-bulbs like lunar craters.
Ettore Sottsass "Asteroid"
For at the era of the conquest of space, tomorrow's light comes from outer space, following the example of the Asteroide (1968) table lamp, a very 'pop' creation by Ettore Sottsass, leader of the Memphis neo- baroque movement. Made of perspex, it reflects peninsula designers' taste for new materials adaptable to the craziest shapes. The Golden Gate by Nanda Vigo features amongst the exhibition's centrepieces, extensive refined architecture spanning two metres which won its designer, influenced by the silhouette of the eponymous bridge, the New York Prize for Industrial Design in 1971, or Rimorchiatore by Gae Aulenti (1969), an example of which appears in the Centre Pompidou collection. Also featuring are creations by the Italians Angelo Lelli - the Calder of lighting -, Studio A.R.D.I.T.I., Matteo Thun and Joe Colombo (honoured by a retrospective at the Musée des Arts Décoratifs in Paris in 2007).
Gae Aulenti "Rimorchiadore"
Without forgetting, for comparison, works by Français Michel Buffet in the vein of Serge Mouille and the German master Ingo Maurer. Finally to complete this vintage selection the Escargot (snail) lamp, created by Le Corbusier in 1954 for the Cité Radieuse in Marseille, produced for the first time in 2011 by Cassina with a limited edition of 150 numbered pieces. Text: Alexandre Crochet, journalist, art historian.
Michel Buffet floor lamp
Exhibition: 'Italian Lights'
From May 20 to July 23 2011
Galerie BSL
8 cité Véron
75018 Paris - France
Heath Ceramics and House Industries are launching Heath house numbers, three-dimensional clay tiles celebrating the legendary Neutra and Eames fonts.
The Heath artisans are uniquely qualified to create a three-dimensional ceramic representation of House Industries' two-dimensional typographic world. Each clay tile is glazed in a matte finish with a raised, unglazed number. As with all Heath tiles, Heath house numbers are pressed, hand-glazed, trimmed, and kiln-fired. They fuse simple, crisp lines, geometric forms and rich glazes in bold and classic colors. The two companies designed the tiles to be modular and easily integrated within a Heath tile installation, as well as to be displayed on their own with the use of a beautiful, modern track system—available in either salvaged teak or stainless steel.
"Bringing the Neutra and Eames-inspired fonts to life in clay form is so exciting to us," says Heath Ceramics Creative Director Catherine Bailey. "Forming these beautiful and refined type-shapes out of an imprecise material, like clay, creates a fantastic contrast. The finished piece becomes as interesting as what's likely to be housed inside the homes where the numbers preside."
Richard J. Neutra was a rare personality whose character combined an uncommon aesthetic ability with a profound sense of civic responsibility. His physio-psychic architecture linked living spaces to their surrounding landscapes, physically and intellectually enriching the entire being. Impressed with Neutra's design sensibilities, House Industries consulted with his son and partner, Dion, to produce Neutraface—an extensive font family based on the lettering that adorned many Neutra buildings. Since first releasing Neutraface in 2001, House Industries has continued to expand the family of typefaces with alternative, condensed and slab-serif styles.
Charles and Ray Eames are among the most important American designers of this century. House Industries worked closely with the Eames family for over ten years to gain access to some of the more obscure archive materials, to seek approval for the designs and to get a feel for what Charles and Ray would have wanted in a font family that bears their name. The Eames Century Roman family has eight different weights, from a distinctively delicate thin to a bombastic extra black. Corresponding italics are on double duty with their subtle nod to Ray Eames' handwriting style while also providing an accompaniment to the Roman styles. Keeping with the Eames philosophy of balancing form and function, House also developed a special stencil version of the heaviest weight of the text family.
The Neutra numbers (3x6 inches) are offered in museum black and mid-century white, while the more playful Eames numbers (4x4 inches) are available in bright yellow, paprika, and museum black.
'Container' is a modular sideboard system by Belgian designer Alain Gilles for Italian manufacturer Casamania.
As if a regular sideboard had been split into different elements, different "containers". It is really a research on deconstruction and reconstruction. As if a 'standard' sideboard with its different storage functionalities had been split into various elements just to be reconstructed in a different, uneven manner.
A research on the architecture of a piece in order to bring forward its construction logic. In a way, a 'landing dock', the base, and a few "containers" that can be set one on top of the other... hens its name.
The work on the structure is further highlighted by the association of different materials and finishes applied to each structural element.
By playing with different types of finishes and settings several furniture pieces with their own personalities and functions can easily be created form the same original elements. Thus, it will either be seen as more a sideboard, dresser, media storage cabinet or television stand and find its way into different rooms of the house
The Pioneers of American Industrial Design stamp pane honors 12 of the nation's most important and influential industrial designers.
Encompassing everything from furniture and electric kitchen appliances to corporate office buildings and passenger trains, the work of these designers helped shape the look of everyday life in the 20th century.
Industrial design emerged as a profession in the U.S. in the 1920s but really took hold during the Depression. Faced with decreasing sales, manufacturers turned to industrial designers to give their products a modern look that would appeal to consumers. Characterized by horizontal lines and rounded, wind-resistant shapes, the new, streamlined looks differed completely from the decorative extravagance of the 1920s. They evoked a sense of speed and efficiency and projected the image of progress and affluence the public desired.
Consumer interest in modern design continued to increase after World War II, when machines allowed corporations to mass produce vacuums, hair dryers, toasters and other consumer goods at low cost. Industrial designers helped lower costs further by exploiting inexpensive new materials like plastic, vinyl, chrome, aluminum and plywood, which responded well to advances in manufacturing such as the use of molds and stamping. Affordable prices and growing prosperity nationwide helped drive popular demand.
Even as streamlining gave way to new looks in the 1960s, the groundbreaking work of industrial designers continued to transform the look of homes and offices across the country. Today, industrial design remains an integral component of American manufacturing and business, as well as daily life.
With Now! Le Off, a space open to young design and the avant-garde, Paris Design Week will make 1200 m2 of the Docks en Seine available to designers, to provide a 180 degree overview of the new French and international generation.
Bina Baitel 'Operio'
The young Parisian designer, associated with the Next Level gallery, will present a series of new furniture pieces. The Operio sideboard is a piece where the material's fluidity draws on a solid an functional form.
Lamp by Jean Couvreur
In all, more than 60 designers will present their vision of the domestic world, from the most arty-ficial of Frederique Morel's scenic incarnations, to the realism of free art projects, such as Pauline Deltour's office accessories, the chinese designer Chenzu Sun's seating system, lights by Jean Couvreur, Pool discovered at the Nouvelle Vague exhibition in Milan, or the surprising geometric Bistable shelves by Charles Kalpakian, who plays around with our blurred vision.
eliumstudio table 'Do it Yourself'
Initially conceived for L'Express magazine at the request of Marion Vignal, this series of simple tables will finally meet its public after having been put on hold. A table-top, lampshade support and colored cord to unify the whole, it can all be put together yourself! Eliumstudio, too often labelled as "designers of industrial products", demonstrates here a talent and sensitivity towards furniture with elegance and humour.
Glitch Fiction
A collective founded at the Royal College of Art, Glitch Fiction proposes scenery objects for an activist design. It is a border between fiction and reality as enjoyable as it is experimental, which enables the designers to explore fields such as genetic manipulation, biopolitics and the artificiality of nature. During Paris Design Week, Glitch will exhibit all their new projects by Austin Houldsworth, David Benque, Nicolas Myers, Facet, Thomas Thwaites, Nitipak Samsen, The Workers, Nelly Ben Hayoun et Good Wives and Warriors.
Pauline Deltour office accessories in aluminium
A young designer who went through the studios of Konstantin Grcic, Pauline Deltour is currently working with extruded aluminium to create a range of office accessories. Extrusion is the thermo-mechanical fabrication process through which a compressed material is forced through a mold of the piece being created. One can continuously produce a product of uniform shape, with no limitation of length or signs of deformity. She uses this process to obtain different elements from one form. Once the shape is extruded, it is cut on specific angles producing objects with very distinct silhouettes and configurations.
Paris Design Week
Now! Le Off
Docks on the Seine - 34 quai d'Austerlitz - 75013 Paris
September 12 to 18 2011
The Czech Center New York presents a selection of artifacts from the Home Art collection in Prague.
Svícen – Klecící ~ena kov Tulipány kov
Home Art is a phenomenon that arose in the second half of the 20th century in communist Czechoslovakia. Home Art was made by people with no art education and with ambition not reaching beyond the intent of creating a piece of art simply for their and their family's joy. These artifacts decorated the interiors of Communist era housing projects, countryside cottages, offices and workrooms, pubs and military dormitories. Artistry, craftsmanship, and a peculiar design inspiration is much in evidence as one tours this collection which serves as a kind of document of the personal and widely felt response to the social and economic constraints of that era.
Dekorace chemlon Hodiny prekli~ka, drevo, budík
Home Art, especially at the turn of the 1950s and 1960s, complemented the "atomic style", for which the name "Brussels style" is used in Czechoslovakia after the 1958 Brussels World's Fair, where Czech designs won 27 gold medals.
Svícen kov Ferda Mravenec kov
While bursts of Czech Home Art activity can be seen in the mid 1970s and the beginning of the 1980s, the 1960s was the time when it reached its peak. By the fall of the communist regime in 1989, this modern folklore has more or less disappeared.
Cert kov Palmy kov
What these Home Art pieces may lack in formal aesthetic, they more than make up for in sheer creativity and whimsy, and it is in this light as artifacts that they are best appreciated as they represent important historical and social evidence belonging to a bygone era.
Pantofle chemlon Prostírání chemlon
Exhibition
Home Art
At the Czech Center New York
From June 16 to September 15 2011
