Pavilion Made from Aluminum Cans and Cracked Clay Wins 2017 City of Dreams Competition
Cast & Place has been announced as the winner of the 2017 City of Dreams competition to create a pavilion for New York City’s Governors Island. Held by not-for-profit arts organization FIGMENT, the AIANY Emerging New York Architects Committee, and the Structural Engineers Association of New York, the competition called for a design to be the hub of FIGMENT’s free community arts festival during Summer 2017, based on questions of the future of New York, how design can confront environmental challenges, and how architecture can be built from recycled or borrowed material.
With these questions in mind, Cast & Place was conceptualized as a pavilion made entirely from waste. 300,000 recycled aluminum cans, cast into the cracks of dried clay, will form structural panels that assemble into shaded spaces for performance and play.
To make these panels, the team—called Team Aesop, consisting of Josh Draper, Lisa Ramsburg, Powell Draper, Edward M. Segal, and Max Dowd—will collect five tons of clay from Flushing, Queens, through the Clean Soil Bank, an organization that facilitates the transfer of earth from excavation sites, lays it out to dry in reclaimed wood molds from Big Reuse. The recycled aluminum cans, partially supplied by recycling center, SureWeCan, will then be melted and poured into the cracked dredge, creating lightweight, strong panels.
At the end of the summer, when the arts festival is over, the pavilion will be disassembled and turned into benches and trellises for the people who helped to support the project.
Cast & Place will be entirely funded through its kickstarter, which is open and accepting donations towards its $30,000 goal until March 27.
Learn more about the project, or support its kickstarter here.
News via: Team Aesop and the American Institute of Architects (AIA).
COS x studio swine presents new spring at milan design week 2017
following a preview announcement in early 2017, COS introduces the ‘new spring’; a collaborative installation with london-based studio swine which is set to run throughout the milan design week 2017. studio swine, an artistic duo between japanese architect azusa murakami and british artist alexander groves, will create an immersive, multi-sensory experience that, with the name of ‘new spring’, reflects the optimism and renewal that results from seasonality. the exhibition amazes through the no small feat of ‘encapsulating a lifespan of emotions in an instant‘ and aims to evoke memories of joy and vitality.
images courtesy of COS
‘we have been inspired by the thoughtfulness of studio swine’s work for some time now and are so thrilled to see new spring coming to life. I hope their idea for this year’s installation will capture the imagination of those who visit. it is a joy for us to invite such talented creatives to collaborate and ultimately for us to engage with the creative community we draw inspiration from so regularly at COS,‘ said karin gustafsson, creative director of COS.
sourcing influence from the sakura festival of japan, the ‘new spring’ installation will center around a focal sculpture, emitting mist-filled blossoms that burst and evaporate on contact with skin, but stays momentarily when met with textured fabrics. set for the milan design week 2017, the COS x studio swine installation will be open to the public from 4th to 9th april at the cinema arti – an inactive 1930s theater built by italian architect mario cereghini – on via pietro mascagni.
the collaboration marks the 6th time that COS has partnered with a creative during milan design week — last year, japanese architect sou fujimoto created an immersive forest of light in the same theater; in 2015, snarkitecture turned spazio erbe into a cavernous fabric retreat.
Formerly the world’s largest grain elevator, now a luxury condominium building featuring a 5000 Sq. ft state-of-the-art penthouse developed by Turner Development Group.
The 5,000 square foot penthouse is a three bedroom, three and a half bath unit with floor to ceiling windows on both floors and 360-degree views of Baltimore’s waterfront and urban expanse. The sophisticated industrial modern design of the penthouse is punctuated by premier finishes including eco-timber grey weathered flooring, a polished marble waterfall island and herringbone marble backsplashes in the kitchen and a stacked stone wall and floating vanity in the master bathroom. The PH is also a fully-intergrated smart home featuring i-Pad controlled thermostat, lighting and window. Photography by Turner Development Group
Brian Giniewski Ceramics Has Created A Collection Of Rainbow Drip Vessels | CONTEMPORIST
Brian Giniewski is a Philidelphia based artist who makes ceramic vases with unique drippy finishes that create a contemporary home for your plants, flowers, or even your morning coffee.
Made from earthenware clay and glazed with a mix he creates himself, the vases can be used in a wide range of ways. As long as they stay out of the microwave and dishwasher, they’re food and drink safe and can be used as colorful vessels for holding your favorite beverage. They can also be filled with soil or water to create a cozy colorful home for your favorite plants.
The colorful drippy effect on the vases gives them a super fun, original look and the nature of the glaze means that each piece comes with it’s own uniqueness.
The pastel colors and marbled looks are perfect for spring and are a great way to add both ceramics and pastels to your interior.
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the moto guzzi airtail motorcycle by death machines of london
death machines of london are a brand dedicated to making bespoke motorcycles, with an unwavering focus on ensuring craftsmanship with exceptional performance. their latest offering, the moto guzzi ‘air tail’, retains the same refined level of minimalist design standards with a tail celebrating its open steel structure.
based on a 1981 moto guzzi ‘lemans mkii’ motorcycle, a sports bike dubbed the ‘le mans’ following the 24-hour endurance race held in france, death machines of london’s ‘airtail’ is one of the few examples to be considered as ‘rolling art’. DMOL started the project by completely disassembling the moto guzzi back to its bare bones – including a thorough inspection of the gearbox and engine. the main frame was de-lugged and airtailed for a minimalist aesthetic, with all cables hidden discreetly within.
after: moto guzzi with an elegant air tail
the ‘airtail’s’ 950 cc engine features a polished, lightened and balanced crankshaft, plus in-house gas flowed cylinder heads, all fitted with new valves. the bike’s original instrumentation has been completely restored and is housed in a bespoke dash, including aviation warning lights and main switch from a 1940 merlin spitfire. death machines of london finishes the bike in ‘italian’ red gloss with a satin ‘old english’ white finish, with a hand painted moto guzzi logo.
From the architect. In the heart of a paved courtyard, the studio of a painter occupies a magnificent 1900 glass canopy. The volume being very generous, in winter season it becomes necessary to optimize the heating system by subdividing space. The principle of “workshop in the workshop” meets this expectation.
The quality of natural lighting, precious to the artist, is preserved thanks to the fan-shaped geometry of the new structure, which allows the natural light to penetrate.
When the facades of the volume open, space becomes one: it becomes vast and generous again. While welcoming an exhibition space, the mezzanine offers a new relationship to the canopy and provides a general view of the place.
The expression of the workshop echoes the lines of the canopy which he declines according to multiple processes: rhythms of the glass roof and the facades with polycarbonate’ elements, fine lines of the railings and luminaries. Thus, the new workshop naturally fits into its setting of light.
Like a fan, the 3 volumes of the workshop unfold and echo the lines of the canopy.
The stacking of the stone is inspired by both memories of a beautiful Japanese bamboo cutting board, with its even and subtle yet irregular offsets…..as well as the work of abstract painter Agnes Martin….repetitive with subtle differences creating a complex box of depth and surface. The effect is not unlike a mother of pearl box, created by the shimmering variations of the stone and how it is laid, both regularly yet with deliberate variation. Roland Barthes ‘repetition differente’.
Slowly a pattern emerges, shifts and then unwinds
Repetitive but not repeated, Even – here, elongated – there ….extended, here compressed there. Subtle varieties of color, texture, line all effect to create a richness of experiences for daily life.
The slicing of stone left exposed, the splash of water, the capture of light…the walls exclude what is weak and undesired so that what is vibrant and alive can flourish in peace.
A modern timeless ruin in the Sonoran desert, inhabited by the softness of the bodies within and the glimpses of shimmering landscapes and light particular to the desert outside.
luke jerram’s seven meter diameter moon is traveling across the world
artist luke jerram is taking a seven meter diameter moon across the world. the touring art installation is lit from within, illuminating hyper-detailed NASA imagery sourced from the lunar surface. with an approximate scale of 1:500,000, each centimeter of the spherical sculpture represents five kilometers of the astronomical body’s actual surface. ‘museum of the moon’ has since taken shape at venues across the UK and europe, with a program of events planned for coming years. each setting activates the site, creating an ongoing collection of personal responses, narratives and mythologies.
‘museum of the moon’ brings together lunar imagery, light, and a sound composition by composer dan jones. the installation will be exhibited in a variety of ways both indoors and out — whether sited at art exhibitions, or music/light festivals around the world.
jerram hopes that the sculpture will open up a conversation about the moon’s cultural and societal impact throughout history. since the beginning of time, the astronomical body has had a range of interpretations and functions, being used as a timekeeper, a calendar and an aid in nighttime navigation. artists, poets, scientists, writers and musicians have all been drawn to the moon as a source of inspiration and exploration, with their own scientific and religious relationships forged. ‘museum of the moon’ prompts viewers to observe and contemplate cultural similarities and differences across the world.
the installation sited at the lakes alive festival in the UK
‘museum of the moon’ at the university of bristol, UK
the installation will be exhibited in a variety of venues — both indoors and out photo by simon galloway
the sculpture opens up a conversation about the moon’s cultural and societal impact photo by simon galloway
the touring art installation is lit from within
the luminous moon placed above the streets of rotterdam
the installation prompts viewers to contemplate cultural similarities and differences across the world.
hyper-detailed NASA imagery sourced from the lunar surface wraps the outer surface of the installation
each centimeter of the sculpture represents five kilometers of the moon’s actual surface
each setting creates an ongoing series of personal responses, stories and mythologies
the sculpture at OORtreders festival in the netherlands
live music takes place beneath the moon’s luminous shell
A touch of the French countryside makes a home feel like home. Synonymous with lavender sprigs, lilies and French royalty, the fleur de lis adorns its home country’s walls and so many of our home fixtures – napkins, bedding sets, and the odd bathroom fixture or two. Add a splash of ‘je ne sais quoi’ to your abode with our featured range of fleur de lis home décor finds. Welcome visitors to your home, with a fleur de lis wall hook to hang their coat. Offer them a cheese platter, with a matching fleur de lis-themed board and knife. Inhale French quintessential culture with the feel of fleur de lis.
The opening of the world’s biggest watch fair, Baselworld, in Switzerland tomorrow, marks the 60th anniversary of the Omega Speedmaster. Along the way, it has generated in excess of 100 limited editions. One of the most féted horological designs of all time, the Speedmaster became the official Nasa timepiece in 1965. Buzz Aldrin (pictured, 1969), a self-confessed ‘watch guy’ wore his on the Apollo 11 mission, bestowing the Speedmaster stratospheric status when it became the first watch to be worn on the moon.
To celebrate, here’s our pick of six decades of classic Speedmaster designs…