Saturday, January 31, 2015
Friday, January 30, 2015
Thursday, January 29, 2015
Wednesday, January 28, 2015
Tuesday, January 27, 2015
Federico Babina's Gallery #1: Archiquote
Working in reverse (see in this blog on January 23), Italian architect Federico Babina’s latest set of illustrations deconstructs the stylistic forms of famous architects into a series of abstract compositions that embody the essence of each architect’s style. This “process,” as Babina says, aims to reveal the “ideal connection between architecture itself as a form of representation and the representation used in its design.”
“The architecture is a set of shapes that draw volumes and voids which sequence generates functions and meanings. These illustrations are one of the possible ways to watch, observe and describe architecture… In these pictures you can read architectural references or simply let your mind get lost between the lines and colors for more imaginative interpretations.”
“The architecture is a set of shapes that draw volumes and voids which sequence generates functions and meanings. These illustrations are one of the possible ways to watch, observe and describe architecture… In these pictures you can read architectural references or simply let your mind get lost between the lines and colors for more imaginative interpretations.”
Courtesy: www.federicobabina.com
Monday, January 26, 2015
Ora-Ïto's Nikeames shoe is an "homage to Charles and Ray"
French designer Ora-Ïto has developed a conceptual trainer with curved veneer sections to reference the work of Modernist furniture designers Charles and Ray Eames.
Ora-Ïto pays tribute to the late American couple with the Nikeames shoe design, which he imagines could be produced by sports brand Nike.
The wooden sections designed to wrap around the shoe take influence from the moulded plywood shell of the Eames Lounge 670 armchair, designed for Herman Miller in 1956.
"It's an an homage to Charles and Ray Eames' Lounge chair – the most famous one with the wooden shell," Ïto told.
"The idea was to make a Nike Eames, like the Nike Air but playing with the Eames, translating the language and the forms and the aesthetic of the Eames armchair into a trainer."
The shoe would be formed from two layers, with the dark wooden panels on the base, upper and heel curving around a black Goretex slipper. Rubber would form a thin sole on the bottom.
The colours would echo the original rosewood veneer and leather of the original chair, which is formed from three plywood shells and modelled on an English club chair.
"Eames' work is still very modern," Ïto said. "I was at [Milan's] Salone Internazionale del Mobile [in April 2014] because I present furniture there every year, and it was the year of Charles and Ray Eames – they were everywhere."
"Even if they're dead, they're still the most productive designers, which is quite funny," he added.
Although Ïto has only created a quick render to demonstrate the idea, he believes that it is enough to spark discussion and possibly provoke Nike into producing the shoe.
Via Dezeen.com at
http://www.dezeen.com/2014/08/21/ora-ito-nikeames-shoe-concept-charles-ray-eames/
Ora-Ïto pays tribute to the late American couple with the Nikeames shoe design, which he imagines could be produced by sports brand Nike.
The wooden sections designed to wrap around the shoe take influence from the moulded plywood shell of the Eames Lounge 670 armchair, designed for Herman Miller in 1956.
"It's an an homage to Charles and Ray Eames' Lounge chair – the most famous one with the wooden shell," Ïto told.
"The idea was to make a Nike Eames, like the Nike Air but playing with the Eames, translating the language and the forms and the aesthetic of the Eames armchair into a trainer."
The shoe would be formed from two layers, with the dark wooden panels on the base, upper and heel curving around a black Goretex slipper. Rubber would form a thin sole on the bottom.
The colours would echo the original rosewood veneer and leather of the original chair, which is formed from three plywood shells and modelled on an English club chair.
"Eames' work is still very modern," Ïto said. "I was at [Milan's] Salone Internazionale del Mobile [in April 2014] because I present furniture there every year, and it was the year of Charles and Ray Eames – they were everywhere."
"Even if they're dead, they're still the most productive designers, which is quite funny," he added.
Although Ïto has only created a quick render to demonstrate the idea, he believes that it is enough to spark discussion and possibly provoke Nike into producing the shoe.
Via Dezeen.com at
http://www.dezeen.com/2014/08/21/ora-ito-nikeames-shoe-concept-charles-ray-eames/
Friday, January 23, 2015
A new portrait by Federico Babina
This is the new architect’s portraits by Federico Babina: Charles Eames. The iconic Eames bird, Hang-it-All coat rack, and other playful accessories compose the designer and architect’s face.
Courtesy Dwell Magazine
Thursday, January 22, 2015
Wednesday, January 21, 2015
News from "The Architectural Review"
From The Architectural Review, 1 January 2015, by Catherine Slessor:
/.../ As America’s mid-century modern sweethearts, Charles and Ray Eames covered the waterfront. Over time, the gravitational pull of their binary star sucked in everything, from cushion covers to the cosmos, transmuting and regurgitating it in a spirit of optimistic possibility. A curious mixture of obsession and whimsy, the Eameses rethought the relationship between design and society and in doing so changed the way we see the world /.../
Read more at:
http://www.architectural-review.com/reviews/reputations/charles-and-ray-eames/8674319.article
Illustrator: Sara Andreasson
/.../ As America’s mid-century modern sweethearts, Charles and Ray Eames covered the waterfront. Over time, the gravitational pull of their binary star sucked in everything, from cushion covers to the cosmos, transmuting and regurgitating it in a spirit of optimistic possibility. A curious mixture of obsession and whimsy, the Eameses rethought the relationship between design and society and in doing so changed the way we see the world /.../
Read more at:
http://www.architectural-review.com/reviews/reputations/charles-and-ray-eames/8674319.article
Illustrator: Sara Andreasson
Tuesday, January 20, 2015
Keith Yamashita tip #8
Eighth tip from Keith Yamashita, "Fifteen Things Charles and Ray Teach Us", december 1999.
Previous tips in this blog: Tuesday, December 02 2014, Tuesday, December 09, 2014, Tuesday December 16, 2014, Tuesday, December 23, 2014, Tuesday, December 30, 2014, Tuesday January 6, 2015, Tuesday January 13.
Previous tips in this blog: Tuesday, December 02 2014, Tuesday, December 09, 2014, Tuesday December 16, 2014, Tuesday, December 23, 2014, Tuesday, December 30, 2014, Tuesday January 6, 2015, Tuesday January 13.
Monday, January 19, 2015
Shaun Samson's homage to Charles Eames
By Tim Blanks
January 10, 2015
"I'm a bit older," said erstwhile wunderkind Shaun Samson following today's show, which marked his return to the London catwalk after two seasons away. "I'm looking at things differently." On a personal level, that means he's settled down. Samson has found himself a place in L.A.'s Koreatown, he's got a dog, he's even thinking of starting a family. And that new interest in domesticity filtered into this collection. According to the designer, his fascination with the swagger of SoCal street culture has shifted into an interest in the architecture of the place. He claimed you could find echoes of Charles Eames in the linear, graphic quality of his clothes, with the panels of transparent fabric, for instance, representing windows.
That was way too abstract in the face of the more immediate impression of fundamental peculiarity. "Delusional radical bliss" blared the backdrop, which seemed like a pretty accurate summation of a particular L.A. state of mind. Shirts and shorts in Woolrich plaids paired with Timberlands were grungier than the precise minimalism of Eames. They were incongruously sported by all-American hunks straight out of a Bruce Weber shoot, Hulk-like abs bulging. "Gnarly dank dude" declared the top that one hunk was wearing. No contest there. But the testosterone was undercut by faux mink collars and cuffs, those sheer insets, and extended sleeves that tied into foppish bows at the wrists. Samson envisioned the aprons worn by some of the models as his take on the halter top.
The ambiguity was welcome, because it encouraged a second look. Samson's worth it. He didn't quite find his sweet spot with this collection, but the story he's telling can only get better.
January 10, 2015
"I'm a bit older," said erstwhile wunderkind Shaun Samson following today's show, which marked his return to the London catwalk after two seasons away. "I'm looking at things differently." On a personal level, that means he's settled down. Samson has found himself a place in L.A.'s Koreatown, he's got a dog, he's even thinking of starting a family. And that new interest in domesticity filtered into this collection. According to the designer, his fascination with the swagger of SoCal street culture has shifted into an interest in the architecture of the place. He claimed you could find echoes of Charles Eames in the linear, graphic quality of his clothes, with the panels of transparent fabric, for instance, representing windows.
That was way too abstract in the face of the more immediate impression of fundamental peculiarity. "Delusional radical bliss" blared the backdrop, which seemed like a pretty accurate summation of a particular L.A. state of mind. Shirts and shorts in Woolrich plaids paired with Timberlands were grungier than the precise minimalism of Eames. They were incongruously sported by all-American hunks straight out of a Bruce Weber shoot, Hulk-like abs bulging. "Gnarly dank dude" declared the top that one hunk was wearing. No contest there. But the testosterone was undercut by faux mink collars and cuffs, those sheer insets, and extended sleeves that tied into foppish bows at the wrists. Samson envisioned the aprons worn by some of the models as his take on the halter top.
The ambiguity was welcome, because it encouraged a second look. Samson's worth it. He didn't quite find his sweet spot with this collection, but the story he's telling can only get better.
Saturday, January 17, 2015
News: Trippy Music Video Inspired By Charles And Ray Eames's "Powers Of Ten"
By Carey Dunne, via Fastcodesign.com
at http://www.fastcodesign.com/3037290/infographic-of-the-day/this-trippy-music-video-visualizes-powers-of-ten-in-the-colorful-univ
In 1977, Charles and Ray Eames released Powers of Ten, a films that visualize the vastness of the universe based on orders of magnitude. The camera zooms out from a picnic on planet Earth into infinite space until the whole universe is in view, and then back down again to burrow into a single atom.
Now, this famous film has inspired "Colores (Para Lole Pt. 2)," the latest music video by Storms, a Barcelona-based electronic music duo. Using rocks, paper, clay, plates, fabric, oils, soap, water, pompoms, and marbles, directors Martin Allais and Martin Lorenz sought to illustrate the song’s chorus, "Todo es de colores," ("Everything is made of colors"), using the same orders of magnitude in Eames’s Powers of Ten.
The video begins with an animated collection of rocks, a wormy cluster of colorful blobs, and a shivering bouquet of cut paper. The camera gradually zooms out, imagining what the colors of these bright groups of objects might look like when another zero is added to the distance—from 10 million meters, 1,000 million meters, and so on, until the universe is a swirling blur of colors. As in the Eames’s films, the camera then zooms in to a nanoscale, fantastically illustrating colors on the level of micrograms and angstroms. "Colores" is more abstract interpretation (and less precise a visualization) than the Powers of Tenfilms that inspired it, but it offers a dreamy exploration of the colorful universe on a macro- and micro-scale.
Friday, January 16, 2015
Micheal Mann's homage to Charles & Ray Eames' Power of Ten
In classic Westerns, the heroes wore white hats, while the villains wore black, making it easy to tell them apart. The world's gone blurry in Michael Mann's "Blackhat," (premiere: today, 01.16.2015) a surprisingly inelegant yet breathlessly up-to-the-minute thriller -- as well as a newfangled "Eastern," strategically set mostly in China, Indonesia andMalaysia -- in which the FBI recruits an incarcerated hacker to help thwart an international cyber-terrorist. The weak link in a busy January weekend, Universal's export-ready offering may not look like much, though powered by criminal stunts that make last month's Sony breach seem amateur, plus action scenes punchy enough to justify the price of admission, it could hardly be called hackwork.
In the 20 years between "Thief" and "Ali," the visually oriented helmer set a look that other directors have emulated, but these days, we can feel him struggling to keep up with the times. Aesthetics still matter, which is obvious from the opening sequence: a purely cinematic attempt to dramatize a cyber-attack, starting from the macro and then plunging down to the most microscopic level. The Universal logo yields to a view of the Earth from space, featuring the globe aglow with crisscrossing lines of communication; then we zoom in, first to China, then to the Chai Wan Nuclear Power Plant, until the camera passes through a computer terminal to the network of wires, motherboards and pulsing white packets of sinister code.
In the 20 years between "Thief" and "Ali," the visually oriented helmer set a look that other directors have emulated, but these days, we can feel him struggling to keep up with the times. Aesthetics still matter, which is obvious from the opening sequence: a purely cinematic attempt to dramatize a cyber-attack, starting from the macro and then plunging down to the most microscopic level. The Universal logo yields to a view of the Earth from space, featuring the globe aglow with crisscrossing lines of communication; then we zoom in, first to China, then to the Chai Wan Nuclear Power Plant, until the camera passes through a computer terminal to the network of wires, motherboards and pulsing white packets of sinister code.
Via BostonHerald.com at:
Thursday, January 15, 2015
Wednesday, January 14, 2015
Spotlight: embroidered Eames chairs
Say what? Embroidered Eames chairs by Studio Alvaro Catalan de Ocon at Spazio Rossana Orlandi, during Milan Design Week 2014.
Photos: Nick Hughes / Yellowtrace + catalandeocon.com
Tuesday, January 13, 2015
Keith Yamashita tip #7
Seventh tip from Keith Yamashita, "Fifteen Things Charles and Ray Teach Us", december 1999.
Previous tips in this blog: Tuesday, December 02 2014, Tuesday, December 09, 2014, Tuesday December 16, 2014, Tuesday, December 23, 2014, Tuesday, December 30, 2014, Tuesday January 6, 2015.
Previous tips in this blog: Tuesday, December 02 2014, Tuesday, December 09, 2014, Tuesday December 16, 2014, Tuesday, December 23, 2014, Tuesday, December 30, 2014, Tuesday January 6, 2015.
Monday, January 12, 2015
News: From storing junk to way cool - an Eamesian office space
Interior renovation of 1961 North Toronto office tower owned by Park Property Management by Quadrangle Architects. The 2,000-square-foot, top-floor space is owned by Park Property Management and had been used by the building’s superintendent as a storage shed and workshop, filled with refrigerators, stoves, gym equipment found curbside, scraps of wood, and power tools. Quadrangle Architects’ interior design professionals were called in to see if there was any hope of rehabilitation and conversion to office space.
Courtesy www.theglobeandmail.com
Friday, January 09, 2015
Need to find a present for your family's midcentury maniac?
Need to find a present for your family's midcentury maniac? Blue Art Studio has posters featuring Charles and Ray Eames. Love their other digital art too !
Thursday, January 08, 2015
"Je Suis Charlie". Best Tribute on Instagram
This morning, @mashable published this amazing image as popular Bansky´s Instagram account creation but the real author is in fact @lucille_clerc (twitter: @lucilleclerc ).
After the facts in Paris, it´s a fantastic message but we wanted to give full credit to who seems to be the real author Lucille Clair. http://www.lucilleclerc.com.
"Je suis Charlie", all together now !
News: Lotta Agaton interprets the spirit of Eameses
The famous swedish interior designer Lotta Agaton interprets the spirit of Eameses in four stunning still life ! Courtesy www.lottaagaton.se
Wednesday, January 07, 2015
Tuesday, January 06, 2015
Keith Yamashita tip #6
Sixth tip from Keith Yamashita, "Fifteen Things Charles and Ray Teach Us", december 1999.
Previous tips in this blog: Tuesday, December 02 2014, Tuesday, December 09, 2014, Tuesday December 16, 2014, Tuesday, December 23, 2014, Tuesday, December 30, 2014.
Previous tips in this blog: Tuesday, December 02 2014, Tuesday, December 09, 2014, Tuesday December 16, 2014, Tuesday, December 23, 2014, Tuesday, December 30, 2014.
Monday, January 05, 2015
Friday, January 02, 2015
The Iconic Eames Lounge Chair, Dad's Edition (2014)
This story begins with Billy Wilder, director of "Some Like It Hot", "The Apartment", "Sunset Boulevard", and other movie classics. Wilder was a noted collector of modern art and design, and when Wilder met Charles and Ray Eames in Los Angeles in the 1940s, they struck up a friendship; its legacy is the Eames Lounge Chair.
Wilder wanted a comfortable chair for reading and extended napping, one that would have the "warm, receptive look of a well-worn first baseman's mitt" combined with the elegance of an English club chair. The resulting lounge is composed of three curved shells, each made of five layers of plywood covered in Brazilian rosewood veneer (it's now available in other finishes as well). The leather cushions are identical in size to the shells and are attached with zips and hidden clips that allow the exterior to remain unmarred by bolts. The flexible chairback is angled in permanent recline, the seat swivels, and the whole thing is balanced on a slender but robust cast aluminum base.
This modern masterpiece suited not only Mr. Wilder, who was presented with one of the first chairs for his fiftieth birthday in 1956, but has been enjoyed by readers, psychiatrists, writers (it's Pulitzer Prize-winning writer Michael Chabon's work chair of choice), and afternoon nappers ever since.
Wilder wanted a comfortable chair for reading and extended napping, one that would have the "warm, receptive look of a well-worn first baseman's mitt" combined with the elegance of an English club chair. The resulting lounge is composed of three curved shells, each made of five layers of plywood covered in Brazilian rosewood veneer (it's now available in other finishes as well). The leather cushions are identical in size to the shells and are attached with zips and hidden clips that allow the exterior to remain unmarred by bolts. The flexible chairback is angled in permanent recline, the seat swivels, and the whole thing is balanced on a slender but robust cast aluminum base.
This modern masterpiece suited not only Mr. Wilder, who was presented with one of the first chairs for his fiftieth birthday in 1956, but has been enjoyed by readers, psychiatrists, writers (it's Pulitzer Prize-winning writer Michael Chabon's work chair of choice), and afternoon nappers ever since.
Thursday, January 01, 2015
Holiday Gift: Eames House of Cards
For the would-be architects in your life: the Eames die-cut House of Cards set, designed in the 1950's. We love the slots on the cards to make it easier for us challenged builders; € 25 at NB NotaBene Book Shop in Turin, Via Bellezia 12.
Subscribe to:
Posts (Atom)