Design

#3Novices: Carsten Höller’s slide experiment in Florentine palazzo revealed

Twin slides loop through a Renaissance palace created as part of an installation by Carsten Höller and neurobiologist Stefano Mancuso, which explores emotional affects of people on plants.

Called the Florence Experiment, the interactive show at the Palazzo Strozzi in Florence, Italy, aims to explore the symbiotic emotional relationship that exists between biological life and humans.

“Palazzo Strozzi will become a site of real contemporary experimentation and reflection, turning an architectural Renaissance masterpiece into a workshop of dialogue between art and science,” said Arturo Galansino, curator and director general of the Fondazione Palazzo Strozzi.

Carsten Holler Slide, photograph by Martino Margheri

Höller has installed his art-slides in several unsual locations around the world, but never a Florentine palace. In Miami the artist installed a set of corkscrewing slides reached via a spiral staircase on top of a shopping mall.

In London, England, he inserted a slide in the massive Anish Kapoor-designed ArcelorMittal Orbit in the Olympic Park, and affixed another pair of duelling slides to the side of the Hayward Gallery on the Southbank as part of an art show.

Visitors to the installation will slide down one of the pair of intertwined slides from the second floor of the Palazzo Strozzi to the courtyard below, holding a living plant that will be given to them as part of the experiment.

Carsten Holler Slide, photograph by Martino Margheri

After the slide, participants enter a pop-up laboratory in the basement where scientists will monitor the plant’s “photosynthetic parameters and volatile molecules”. These are apparently produced when the plant senses the emotions of the visitor experiencing the rush of the slide ride.

Also in the basement are a set of cinemas, one playing snippets of famous comedies and the other showing clips of infamous horror films.

Pipes from the underground cinema will carry air from the basement to the facade, carrying with it “volatile chemical compounds” produced by the visitor’s reactions to the different films.

Outside, trellis wires in upside-down Y-shapes will branch from each pipe. Wisteria growing on the side of the building will choose a path to grow up where the wires split – according to the experiment’s hypothesises.

It is expected that the amused or fearful reactions of the experiment’s participants will effect the direction the wisteria takes. By the end of the summer a “plant graph” illustrating the relationship between human emotions and plants will be writ large on the facade of the palazzo.

The Florence Experiment will be at the Palazzo Strozzi from spring through to summer.

Photography by Martino Margheri.

The post Carsten Höller’s slide experiment in Florentine palazzo revealed appeared first on Dezeen.

April 25, 2018 at 05:28PM #3Novices #News #OnlineMedia #Chennai #Design3NovicesChennai Twitter

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Design

#3Novices: KPF’s bullet-shaped skyscraper nears completion in Shenzhen

This supertall tapered skyscraper designed by Kohn Pedersen Fox for the China Resources export company in Shenzhen is nearing completion ahead of its opening later this year.

Kohn Pedersen Fox's China Resources HQ
The exterior of the China Resources Headquarters is now complete, with interior fit-out to be completed by the end of the year

The 400-metre supertall skyscraper, which is known locally as Spring Bamboo due to it resembling the shape of a bamboo shoot, will become the city’s third tallest building when it completes.

Officially named the China Resources Headquarters, the 67-storey tower joins the recently completed Ping An Finance Centre, which was also designed by Kohn Pedersen Fox (KPF) in Shenzhen. At 599-metres, it is currently the world’s fourth tallest building.

The exterior of the China Resources Headquarters is now fully enclosed, with fit-out of the interiors now taking place.

Kohn Pedersen Fox's China Resources HQ
The tapered tower will be the third tallest building in Shenzhen when it completes

The tower is wrapped with 59 slender steel columns that are designed to “emphasise its verticality”. At the base and the upper levels of the tower these columns converge and cross to form a diagrid pattern – a diagonal grid similar to that used by Foster + Partners at London’s Gherkin.

This diagrid increases the structural integrity of the building and allows for column-free spaces to be created as the building narrows towards its point, according to the firm.

“The China Resources Headquarters tower is Shenzhen’s latest vertical icon, marking the latest node of cultural development with its tapered, diagrid form and diverse uses for its main client and the public at large,” said a statement from KPF.

Kohn Pedersen Fox's China Resources HQ
The columns converge to for a diagrid pattern at the base and top of the building

The building will be topped by a 68.4-metre-high “sky hall” events space, which will benefit from views over the city.

The tower is located on Shenzhen Bay in the western part of the city, where it stands next to the Shenzhen Sports Complex in a new business district.

Kohn Pedersen Fox's China Resources HQ
The building will be topped by a 68.4-metre-high “sky hall” events space, which will benefit from views over the city. Visualisation is by KPF

At the base of the building a 2,000 square-meter park will contain a pavilion with shops, along with a 3,000 square-meter museum, performance hall, and auditorium.

Kohn Pedersen Fox's China Resources HQ
The supertall skyscraper is expected to open later in 2018. Visualisation is by Kohn Pedersen Fox

KPF has designed some of tallest skyscrapers in the world.

Last year the firm completed a 555-metre tall tower in South Korea that is the tallest building in the country, and a 530-metre skyscraper in Guangzhou, which is the second-tallest skyscraper in China.

Photography is courtesy of Kohn Pedersen Fox.

The post KPF’s bullet-shaped skyscraper nears completion in Shenzhen appeared first on Dezeen.

April 25, 2018 at 04:50PM #3Novices #News #OnlineMedia #Chennai #Design3NovicesChennai Twitter

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Design

#3Novices: 10 of the most Instagrammable exhibitions from Milan design week 2018

Milan design week 2018 may be over, but it’s not too late to see some of the most successful exhibitions. Using our #milanogram2018 hashtag, we’ve picked out the 10 that proved most popular with Instagram users.

Over 7,000 photographs were tagged with the #milanogram2018 hashtag on Instagram during the biggest design event of the year, which took place from 17 to 22 April.

They include shots of the mirrors at COS’s installation, American-themed pop-up restaurant The Diner and disco-inspired furniture from Gufram.

Here’s a look at 10 of the best shots, selected by Dezeen’s head of digital Emily Wadsworth:

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Open Sky by Phillip K Smith III and COS

The most Instagrammed installation of Milan design week was Phillip K Smith III‘s faceted mirrored structure for fashion brand COS. Made from angled mirror panels on a concrete base, the structure filled the courtyard of a 16-century palazzo.

Find out more about Open Sky ›

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Fondazione Prada by OMA

The OMA-designed Fondazione Prada was one of the most visited spots in Milan last week, as it unveiled a new nine-storey tower filled with Instagram-friendly art and design.

Highlights includes the Upside-Down Mushroom Room by Belgian artist Carsten Höller, which featured giant red and white rotating mushrooms sprouting from the ceiling.

Find out more about Fondazione Prada ›

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The Diner by Rockwell Group and Surface Magazine

The big highlight at the Ventura Centrale venue was Rockwell Group‘s American-themed pop-up restaurant, in a vault underneath railway tracks. Images of The Diner’s neon lighting, spelling out the food on offer, were splashed all over Instagram.

Find out more about The Diner ›

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Tempietto nel Bosco by Asif Khan

British architect Asif Khan, who recently completed the impressive Vantablack pavilion for the 2018 Winter Olympics in South Korea, was behind this red wooden structure in Milan’s Palazzo Litta.

Named Tempietto nel Bosco, which means Temple in the Forest, the pavilion’s intricate design and red colour made it an Instagram hit.

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Altered States by Snarkitecture and Caesarstone

New York studio Snarkitecture teamed up with quartz manufacturer Caesarstone to create this installation exploring the changing forms of water. Located in an abandoned 19th-century building, the installation presented materials in the forms of river, glacier, ice, liquid and steam.

Find out more about Altered States ›

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ME Milan II Duca by Rossana Orlandi

One of the surprise hits from Milan design week took place inside a hotel. The ME Milan Il Duca hotel showcased a range of objects from the personal collection of Milan gallerist Rossana Orlandi, including pieces by Fernando Mastrangelo, Nacho Carbonell and Studio UUfie. The exhibition remains open until 30 April 2018 at Piazza della Repubblica 13.

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Hay x Sonos x WeWork

Milan’s Palazzo Clerici provided a dramatic backdrop for an exhibition by Danish design brand Hay, co-working and office company WeWork, and sound specialist Sonos. The contemporary furniture, paired against the historic building’s ornate interiors, was very popular with Instagrammers.

Find out more about Hay x Sonos x WeWork ›

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Fifth Ring by MAD

Ma Yansong’s studio MAD created an interactive installation, featuring an illuminated ring suspended above the Seminario Arcivescovile. Named Fifth Ring, the installation was particularly photogenic due to the stream streaming off a central pool.

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Objets Nomades by Louis Vuitton

Designers including Patricia Urquiola, Marcel Wanders and Fernando Campana joined forces to present Louis Vuitton’s Objets Nomades homeware collection at Milan design week. A ceiling covered in thousands of red and pink Atelier Oï origami flowers was the most photographed part of the exhibition.

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Disco Gufram by Gufram

Discotheque-inspired carpets and furniture featured in Gufram‘s Milan design week showcase. Called Disco Gufram, the collection included 1970s “disco seats”, cabinets containing warped disco balls and carpets that mimic dance floors.

Find out more about Disco Gufram ›

The post 10 of the most Instagrammable exhibitions from Milan design week 2018 appeared first on Dezeen.

April 25, 2018 at 04:12PM #3Novices #News #OnlineMedia #Chennai #Design3NovicesChennai Twitter

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Design

#3Novices: Ron Arad uses Turkish glassmaking techniques to create nesting vases

Industrial designer Ron Arad has created a set of vases that slot inside one another, just like a nest of tables, for glass brand Nude.

Concentrics is a set of four vases designed by Tel Aviv-born, London-based Arad for the contemporary Turkish brand.

They were unveiled during Milan design week in the opulent surrounds of baroque Milanese property Palazzo Litta.

Ron Arad employs traditional Turkish techniques in new vases for Nude
Concentrics is a set of four vases designed by Ron Arad for Nude

Arad previously collaborated with Nude on a series of glass decanters and stacking glasses.

For this project, he designed vessels that are blown in flowing, fluid shapes of decreasing circumference and increasing height. This ensures they can nest inside one other.

The four vases, designed and developed over a period of seven months, are made from crystal-clear glass using a technique called çeşm-i bülbül, meaning “eye of the nightingale” in Turkish. The process involves wrapping coloured glass rods around molten glass to create a swirling, diagonal stripe effect.

Ron Arad employs traditional Turkish techniques in new vases for Nude
The vases are blown in flowing, fluid shapes of decreasing circumference and increasing height, allowing them to nest inside one another

The glass is then blown into steel moulds by highly skilled glass makers, who ensure that the coloured stripes on each clear glass vase are placed at opposing angles, so that when nested together in a stack, a moiré effect is created.

Designed to be as beautiful when empty as when in use, the vases can be stacked and rotated to create different patterns and shapes.

Ron Arad employs traditional Turkish techniques in new vases for Nude
When stacked, the vases can be rotated to create different patterns and shapes

“The nice thing about this traditional Turkish technique is that you can create this moiré effect when you layer the glass together,” Arad told Dezeen.

“I thought it would be good to do a series of stacking bowls that you can use in different ways  – so you could have four bowls doing different things, with apples in the base and flowers in the top for example,” he continued. “They can work together or they can work on their own.”

Alongside Concentrics, Nude’s Milan show also included the Ecrin and Beret containers by German designer Sebastian Herkner, which were first seen at Paris’s Maison & Objet in January.

Inspired by the round stones of the Earth Pyramids of Ritten, the Ecrin series of containers feature thick glass bases topped with smooth, brightly coloured lids.

Ron Arad employs traditional Turkish techniques in new vases for Nude
Nude’s Milan show also included the Ecrin and Beret containers by German designer Sebastian Herkner

Meanwhile Herkner’s new Beret collection, which comprises colourful and sleek brass-lidded vessels, was inspired by the round, flat-crowned French hat of the same name.

American designer Brad Ascalon‘s Hepburn collection was also on show. First seen at Paris’s Maison & Objet in January, the glassware collection is designed to inspire mixologists.

Including a highball and lowball glasses, coupes, a pitcher with stirrer, and a shaker, the Hepburn series features understated metallic attachments and accessories.

Ron Arad employs traditional Turkish techniques in new vases for Nude
Also on show was the Big Top collection by London-based Youmeus, inspired by circus jugglers, and Brad Ascalon’s Hepburn collection, designed to inspire mixologists

Similarly, the previously launched Big Top collection by London-based Youmeus for Nude has been designed to enhance the experience of preparing and serving drinks.

Inspired by circus jugglers, the glass and gold-plated stainless steel collection mimics the movement and shapes of performers. The serving set consists of matching glassware, ice cube bowl, tongs, straws and cocktail sticks.

Ron Arad employs traditional Turkish techniques in new vases for Nude
The exhibition was on show inside Palazzo Litta for the duration of Milan design week

Istanbul-based Nude was founded in 2014 as a subsidiary of Sisecam Group, an industrial global glassware company. Nude has previously worked with Formafantasma to create glassware with swathes of coloured pigment, and with Slovakian  designer Tomas Kral, who designed a series of glassware that resembles parrots.

Other glassware launches at this year’s Milan design week included a range of painterly glass objects designed by Ronan and Erwan Bouroullec for Wonderglass.

The post Ron Arad uses Turkish glassmaking techniques to create nesting vases appeared first on Dezeen.

April 25, 2018 at 02:30PM #3Novices #News #OnlineMedia #Chennai #Design3NovicesChennai Twitter

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Design

#3Novices: Porthole openings connect community centre and kindergarten in Cambridge

Porthole windows with brightly coloured frames, a soaring spiral staircase and waterfall gutters are among the playful touches MUMA Architects has included in this community centre in Cambridge, England.

The London-based practice arranged the community centre and nursery school around a landscaped courtyard, which provides a secure playground for the children without the need for fences.

Storeys Field by MUMA

With space for 100 children, the low-lying nursery buildings form three sides of the courtyard of Storey’s Field.

The community centre, with its high-ceilinged hall and capacity for 180 people, forms the connecting fourth wall and flanks the entrance terrace to the west.

Storeys Field by MUMA

Storey’s Field was commissioned by the University of Cambridge to serve Eddington, a new district in the North West Cambridge Development that includes a primary school, post-graduate student accommodation, university and college worker homes, and a market.

The community centre was planned according to a brief produced via a community consultation. With a sports facilities already located nearby, the local people requested a focus on performing arts. With its high ceilings the main hall forms the centre point of the centre, both visually and programmatically.

Storeys Field by MUMA

“The main hall’s volume allows for variable acoustics that can be adjusted to suit events ranging from chamber music to film screenings, its height being critical to achieving a passively ventilated, acoustically attenuated space,” the architects explained in a statement.

Storeys Field by MUMA

Square beams in a pale wood that complements the sand-coloured brickwork support the triple-height ceiling. A ribbon-like spiral staircase provides access to the third floor.

The centre also includes meeting rooms, office and kitchen facilities, and storage space.

Storeys Field by MUMA

Visitors enter the centre via a foyer, which has its own garden space inside the courtyard. An external garden bounds one side of the main hall, with a walled garden making up the southeastern corner of the complex.

A large circular hole and several other smaller ones have been built into the brickwork of the walled garden, throwing patterns of light across the walls and planted flowerbeds with wavy boarders.

Storeys Field by MUMA

An overhanging roof provides outdoor shelter in wet weather. A gutter spout that extends out and over a stone well leads to a channel carved into the patio to form a water feature.

The roof extends out and around all three sides of the adjoining nursery buildings, forming a cloister facing the play equipment and landscaped gardens. Together with the sandy palette of the bricks, this architectural feature is a subtle nod to the ecclesiastical history of many of Cambridge’s colleges.

Storeys Field by MUMA

Along with covered play, the cloister provides an outdoor circulation route for the corridor-free classrooms of the nursery buildings.

Storeys Field by MUMA

Inside, large windows have been installed in the shape of circles, triangles and squares in primary colours. The sills of the windows double as seats, and their bright forms can be used as an impromptu and fun learning aid.

Little porthole windows set at different heights in other rooms allow children to peak outside and at each other. Carved stone seats in the centre of the playground continue the motif, as do the round perforations in the angled ceilings of nurseries.

Storeys Field by MUMA

Peek-a-boo windows in naive shapes are a popular feature in contemporary educational architecture around the world.

Japanese practice Hibinosekkei set house-shaped windows into the facade of a nursery in Yokohama, while for a school extension outside of London Studio Weave added classrooms with irregular-shaped windows and sliding doors.

Finding another solutions for safe yet fun outdoor play areas, Tezuka Architects created a ring-shaped roof deck for children to run laps around at a Tokyo Kindergarten.

Photography by Alan Williams.


Project credits:

Architect: 

MUMA Architects
Client: 

University of Cambridge
Structural engineer: 

AECOM
MEP
Consultant
: AECOM
Quantity surveyor
: Gardiner & Theobald
Landscape consultant: Sarah Price Landscapes
Theatre and acoustic consultant (community centre): Sound Space Vision
Facade engineering: FMDC Ltd
Clerk of eorks: Calfordseaden
Lighting design: Lumineer
Building physics: Aecom
Acoustician (nursery): Aecom
Fire Engineering: Aecom
Access sonsultant: Centre For Accessible Environments
BREEAM consultant: NHBC
Project manager:
Turner & Townsend
Principal designer: Faithful + Gould (previously CDM coordinator)
Approved building inspector
: 3 Shared Services – Cambridge City Council
Main contractor: 
Farrans Construction

The post Porthole openings connect community centre and kindergarten in Cambridge appeared first on Dezeen.

April 25, 2018 at 01:30PM #3Novices #News #OnlineMedia #Chennai #Design3NovicesChennai Twitter

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Entertainment

3Novices : Is Viswasam team still targeting a Diwali 2018 release?

We have learned from reliable sources that the makers of Thala Ajith’s Viswasam are still targeting a Diwali 2018 release despite the two-month-long delay caused by the TFPC strike.

The principal schedule of the film is expected to kickstart during the first week of May in Ramoji Film City, Hyderabad, where a huge set has been mounted.

Director Siva would have to finish the project at least before the end of August or mid-September to focus on post-production if the team is eyeing a November release. Although it’s a challenging task, it’s quite achievable since the film’s major portions are expected to be filmed in South India and the makers had enough time for pre-production to plan everything properly.

Produced by Sathya Jyothi Films, Viswasam stars Nayanthara as the lead heroine. D. Imman will compose the music for the project, which marks Ajith and Siva’s fourth collaboration.

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