Project EGG is an object measuring 5 x 4 x 3 meter, composed of 4760 uniquely shaped stones, 3D-printed by Studio Michiel van der Kley together with hundreds of co-creators all over the world. The largest 3D-printing community art project so far. A new way of creating and collaborating. You could call Project EGG a poetic pavilion. The building has an organic form and structure where the floor, walls and ceiling fully and seamlessly merge. It has been constructed with 4760 open, elegantly designed stones, each one’s shape unique. Many small elements together forming a large structure, as in the objects from nature that designer Michiel van der Kley likes to look at, such as crocodile skin, corn cobs, coral. He finds in these a language of segmentation which he merges with the possibilities of desktop 3D-printing; when you see a large object as the total of many small elements the potential is limitless. The material is new, PLA, re-usable and biodegradable. Also the way this object is produced is new; not by a factory but by a community. Project EGG invites you to enter it and to be inundated by the play of light and shade, to see 100 shades of white and to experience space and emptiness at the same time.
This is the largest desktop 3d-printed co-creation art project so far. During his research on the potential of the 3D-printer, Van der Kley came into contact with bloggers and digital communities all over the world. He learned much from them and invited them to print one of the stones for Project EGG. Since each stone has to be printed individually, it is very easy to make slight variations in each design. Participants received the digital version for their unique stone in which their name has been included.
Project EGG, by Michiel van der Kley
Inspired by early Modernist and Bauhaus era architecture, this one room deep house is organized along an L-shaped window wall which offers each space a connection to a central courtyard and a balance of natural light from multiple sides. The street facing courtyard and transparent first floor are made private as the house is perched on a plinth above passersby. With little protection from shading trees, exaggerated overhangs help protect the transparent façade and provide continuous outdoor living space between interior and courtyard. Simple, well-crafted details are carefully edited so as not to compete with the texture and reflections of the true divided lite steel windows.
Courtyard House, Austin, Texas, by Tim Cuppett Architects
Photography by Whit Preston and Atelier Wong Photography
2014 Design Academy Eindhoven graduate Sam van Gurp has created a series of lamps representing different approaches to movement and dimming: Cumulus, which dims through layering; Eclipse, which keeps the light contained or sets it free; and Lunar which plays with reflection. “Do we understand what happens when we dim the lights? And to what extent could the dimming become part of the design? Exploded View shows that the key factor is to move the light source closer to the object or further away.” says van Gurp. Cumulus: light gets dimmed as caps slide over each other, each successive cap provides a different light intensity, pulled apart they resemble an exploded-view drawing.
Exploded View Lights, by Sam van Gurp
Hans J. Wegner (1914-2007) was one of the most prolific designers the world has ever seen. His furniture paved the way for the international breakthrough of Danish Design in the years after World War II. In 1949 he created the Round Chair, which the Americans dubbed “The Chair”: the ultimate chair design. Over his long career he created some 500 chairs. Wegner’s work always stems from the manual craft, and he personally created many of the prototypes in his workshop. His life was a constant quest to explore the logic and potentials of wood. In 2014, Designmuseum Danmark celebrates the 100th anniversary of Hans J. Wegner’s birth with the exhibition “Hans J. Wegner – just one good chair”.
Hans J. Wegner – Just One Good Chair, April 3 – December 7, 2014, Designmuseum Danmark, København K, Danmark
There will never be enough tribute to the immense talent of the French designer Pierre Paulin. This beautiful book of major works highlight the paradoxical and complex as well as the hair-raising concern for human creativity. Before becoming a cult designer Pierre Paulin (1927-2009) was a decorator located in the rue de Seine in Paris as attested by the stamp on the preparatory drawings of the chair Stuhl. An autodidact rebel, an unusual character, skinned alive, an outsider criticizing the caste of right-thinking design, he was primarily a pioneer and a visionary who experimented bold forms and new technologies coming out of the postwar boom. Mushroom (1959) Tranche d’orange (1959), Ribbon Chair (1966), Face à Face (1967), La Langue (1963) and Concorde (1966) … etc. Absolute icons, dressed in foam and stretched fabric, reveal a demanding formal economy and aesthetic quest. Innovative and anticipatory of these furniture collections, edited by Thonet France, Roche, Artifort, Herman Miller and now Roset, suggest sculptures that combine gesture and landscape, purification and pleasure, functionality and elegance. “I do not create. I design. I draw,” stated vehemently that prolific creator who refused dilution of design in art. In subliminal connivance with the times and its aspirations to happiness, the designer was able to shape a changing world where the body adopts new postures. “Creations by Pierre Paulin confront us as authoritative in their own right, achievements that demonstrate the power of a company and what it produces,” says author and art critic Nadine Down. Philippe Starck and the Bouroullec brothers admire a singularity that combines comfort and style. And judging by the many avatars inspired by his aesthetic, they are not the only ones to recognize the intelligent model of the hand and the mind.
Pierre Paulin. L’homme et l’œuvre, by Nadine Descendre, Published by Albin Michel, Language: French, EAN 9782226250575
Buy it here: Amazon
Design company Herr M creates furniture and accessories which are particularly easy to understand, user-friendly and elegant in their impression. In the course of this they work on narrative solutions – design which tell the user a story and tie them up emotionally.
Inspired by a childrens toy they designed the side table “Schiebepuzzle”. The front doors can slide up and down and from side to side showing just a little bit of his content at a time, the rest is a seeking-game – for magazines and the minibar, for bottles, glasses, coasters or a deck of cards. Decent and lightly in impression this side table fits in lounges, lofts, living rooms and everywhere, where small things need a place.
Schiebepuzzle, by Herr M
Photography by Marco Warmuth
The wardrobe as a suspension. A heavy and minimalist monolith that seems to float, like it is in levitation. An exoskeleton that surrounds it and contrasts with it, empty and complex at the same time. The wardrobe, block of pure wood is set like a jewel. Like Fabrice Le Nezet’s works, it defies gravity.
Wardrobe “Exo”, by Grégoire de Lafforest, for Galerie Gosserez
A formerly garage space in Amsterdam’s area de Pijp, turned into a spacious house naturally lit by large roof lights. The interior with a generous 230m2 on one floor level is finished in a simple material palette. The repetition of rectangular rough oak wooden surfaces is in great contrast with the stark white walls, black surfaces and grey cast flooring. The custom designed kitchen includes a large wooden sliding door to cover integrated storage areas, with a contrasting black cooking island in front. Built-in cabinets and a fireplace have the same characteristics and contrast in materials. Wooden walls from top to bottom with built-in doors are marking the entrance to the more private areas such as bed and bathrooms. Outdoors is a patio in between the living and master bedroom. In order to connect inside and out, i29 interior architects designed a 20 m2 hand knotted carpet with a natural mossy pattern. The excess of natural light in combination with the soft layer of green and beige resembles the outdoor experience while being inside.
Garage in a Living Space, Amsterdam, Netherlands by i29 Interior Architects
In the center of the vault-like room is a brass pendulum, which swings back and forth every second. This is meant to symbolize our fight against time, as the brass base would naturally oxidize over time yet the polishing brush at the bottom of the pendulum keeps that process from occurring. Nearby stands two connected saxophones, which emit a sound every 15 minutes like a classic horological sentinel. “This is our town church bell,” Trimarchi explains. A massive slate of round Carrera marble represents time as a circular motion. The handless clock is comprised of two concentric circles, and when the veins in the marble match up, one hour has passed by. An elegant fan clock in another part of the room expresses time as a repetitive pattern. Over the course of five minutes, the shade circumnavigating the brass center playfully unfolds and folds back up again as a reminder of our most common way of measuring time.
Formafantasma: From Then On, by Established & Sons
Photography by Established & Sons and Karen Day
The second OKKO hotel has taken up residence in the heart of Grenoble and its eco-district. With a terrace facing magnificent mountains, the challenge was to come up with a flattering echo for these beautiful rivals. A new range of warm colors is arranged in islands to give structure to the large volumes of the Club. Very contemporary evocations of nature were achieved with a choice of high performance materials and a collection of furniture pieces that hinge on the fundamental concepts of the OKKO ethos. Neither quite the same as the first OKKO nor quite different from it, this unique place combines aesthetics, comfort, timelessness and high standards. To continue to feel at home while being somewhere else. Okko hotels had been founded by Paul Dubrule and Olivier Devys.