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After the success of luxury crash helmets, Atelier Ruby has come out with a new model called Belvedere. It offers one integral visor, with a excellent hinge detail, delivered in three different colours.
Luxury Crash Helmets, by Jérôme Coste, for Les Atelier Ruby Available at Colette
via: Materialiste
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Designed by Mies van Der Rohe for the Bauhaus in 1927. The wicker-work for the chair was created by Lilly Reich, assistant to Mies Van Der Rohe. It is the Icon of Modern Furniture Design. This chair is one of the classics in the history of furniture. Bauhaus became a dominant force in architecture and the applied arts in the 20th century. The main theory was that all design should be functional as well as aesthetically-pleasing.
Bauhaus Armchair, by Mies van der Rohe, for Knoll
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Tom Dixon has designed an electrical pylon-like suspension lamp comprising a lightweight geometric frame in anodized metal, with blown satin glass elements.
Lightweight, by Tom Dixon, for Foscarini
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The time indicated is actually the reverse reflection of the digital clock placed on the bottom. Made from the finest Kiso Urushi lacquer finish in three colours: vermillion, ebony and “tame’
Dancing on the Water Alarm Clock, by Yukio Hashimoto, for YOnoBI
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When Alexander “Sandy” Calder (1898–1976), arrived in Paris in 1926, he aspired to be a painter; when he left in 1933, he had evolved into the artist we know today: an international figure and defining force in twentieth-century sculpture. In these seven years Calder’s fluid, animating drawn line transformed from two dimensions to three, from ink and paint to wire, and his radical innovations included openform wire caricature portraits, a bestiary of wire animals, his beloved and critically important miniature Circus (1926–31), abstract and figurative sculptures, and his paradigm-shifting “mobiles.”
Exhibition: Alexander Calder: The Paris Years, 1926-1933, at the Whitney Museum October 16, 2008 - February 15, 2009
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For over a century, wooden gabled grain elevators, known as Wheat Kings, have defined the Canadian prairies. They are faintly anthropomorphic, with a pointy head, sloping shoulders, and stout torso. But one by one, they are vanishing, going the way of the small-town railroad station and manned lighthouses.
The first grain elevator sprang up alongside the tracks of the newborn Canadian Pacific Railway at Gretna, Manitoba, in 1881-four years before Riel’s Northwest Rebellion. By 1933, close to 6,000 grain elevators dotted Manitoba, Saskatchewan, and Alberta. These simple and durable railside appurtenances became focal points in prairie social and economic life.
But the consolidation of small farms into mega-farms and the abandonment of railway branch lines spell the end for the traditional elevator. Today’s farmers increasingly ship their grain by long-haul tractor-trailer to regional “high-throughput grain handling centres” where super-efficient, steel and concrete plants each do the work of a dozen old-style elevators.
Fewer than 1,200 prairie cathedrals remain standing, a handful may survive as heritage artifacts. The rest will succumb to demolition crews.
Flickr Set: I Love Grain Elevators
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This animated lamp looks as if it just jumped out of a space-craft, weightless, exploring new teritory. Available as a suspension or standing lamp. Designed to spice up big areas, and to landmark a building. Create your own space program.
Spacewalker, floor and suspension Lamp by Constantin Wortmann, for Dark
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Built for the installation of the XVI Architecture Biennale at the Contemporary Art Museum at the Forestal Park in Santiago.
The Biennale´s exhibitions didn’t fit inside the Museum, which the architects already knew when choosing the venue. The lack of space at the interior of the museum gave the opportunity, to take a good portion of the exhibition to the outside. It had plenty of virtues for the event: a central location with good accessibility. The idea of this project is working with reusable or already reused elements, from the pavilion structure and it’s skin, to the interior elements of the exhibition inside of the museum. Once the Biennale is over, 100% of the elements used on the pavilion will be reused.
XVI Architecture Biennale, Santiago, Chile, by Architect Felipe Assadi, Assadi + Pulido
via: Arch Daily
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How to Wrap Five Eggs, a mid-60s classic of Japanese design, is back in print. Assembled by graphic designer Hikeyuki Oka in 1965, this stunningly laid-out paean to traditional Japanese packaging is rife with sumptuous black and white photos by Michikazu Sakai of all manner of boxes, wrappers and containers that appear at once homely and sophisticated, ingeniously utilitarian yet fine and rare.
- dwell
“what we have lost for sure is what this book is all about: a once-common sense of fitness in the relationships between hand, material, use and shape, and above all, a sense of delight in the look and fell of very ordinary, humble things.”
- George Nelson
How to Wrap Five Eggs: Traditional Japanese Packaging, Edited by Hikeyuki Oka.
Buy it here: Amazon
via: dwell
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Expansive projects accomplished by the interdisciplinary design collective 3deluxe over the last five years. Their skillful interplay graphics, interiors and architecture to create powerful spatial situations and graphics that combines a sensitive intellectual and sensual balance. The multi-media theme world Cyberhelvetia, the interior and corporate design for the CocoonClub in Frankfurt, events and exhibitions for the 2006 FIFA World Cup as well as the corporate architecture for Leonardo are only but a few of the multitude of projects featured in this luxurious volume.
3deluxe, Transdisciplinary approaches to design, by Frame Publishers.
Buy it here: Amazon