In the exhibition, Luke Jerram explores ways to reveal invisible phenomena. The show will include works from three major series: Glass Microbiology, Radiometer Chandeliers, and Rotated Data Sculptures. By capturing phenomena beyond the reach of the human eye and making them material, Jerram draws our attention to a vast array of scientific research and data gathering and questions if and how does this knowledge serve us.
Glass Microbiology continues Jerram’s exploration of clear glass renderings of viruses and bacteria at the root of the most dangerous diseases (such as HIV, H1N1 and SARS). The series presents us with exquisite transparent objects which infer deadly harm. Working with leading virologist Dr. Andrew Davidson from the University of Bristol, Luke Jerram collaborated with specialized glassblowers to fabricate the pieces.
One of the world’s most prestigious schools of art has defined a new teaching paradigm by making architecture and industrial design more interdisciplinary, more interconnected. ECAL chez Le Corbusier (ECAL at Le Corbusier’s place) is a magnificent tribute to the great architect on the 125th anniversary of his birth. It is also, and above all, an encounter between a master and some pupils: between Le Corbusier and the students of ECAL (University of Art and Design Lausanne). To imagine, then to produce objects for the Villa “Le Lac” was the project conceived by Elric Petit, head of the bachelor’s degree programme in industrial design at ECAL, and Chris Kabel, professor at ECAL. The project soon outgrew the framework of a classic teaching activity: the potential offered by the site, the inventiveness awakened by this assignment and the quality of the executions naturally led to the idea of an on-site exhibition.
ECAL: Chez Le Corbusier, Villa Le Lac, Switzerland, July 2 – August 29
Havet is a cabinet made out of pine. The surface treatment resembles a stormy ocean at night and is created by combining traditional craftsmanship with an unconventional technique. The pattern is chiselled by hand using an angle grinder. Just like the waves on a windy sea, each cabinet created will be unique. At first, the furniture is built as a classic cabinet with right angles and with fittings, details and interiors in place. The carpenters then chisel out the distinctive pattern — a process requiring as much time as building the cabinet itself. The pattern is carved on all sides and across all external joints and fittings, creating a monolithic and sculptural gestalt.
Havet, by Karl-Johan Hjerling & Karin Wallenbeck, for Snickeriet
Thread Family is a set of small hight adaptable furnishings featuring a thread and seat lathed from walnut wood on a welded steel base in many colours. The family consists of three members: Small Stool, Bistro Table & High Stool. Main feature is the lathed upper part, consisting of a 40 mm thread cut from american walnut, connected with the seat by a visible and well crafted wedge-joint in a cross shape. Its surface is finished with hardwood oil to enhance the natural looks and to produce a smooth motion of the thread while adjusting the seat hight. The steel base was welded from precision stainless steel tubes, inspired by high quality bicycle frames. All additional parts like feet and inner thread have been hand crafted from a non dyed technical polymer.
Conceived as objects of high flexibility, the Thread Family works in small spaces and in large places. They rise and adapt to the needs of the user and can become a lifelong companion to a kid or an adult. “Thread” emphasizes the natural qualities of wood and works well as a single piece and in a group.
Thread Family, Small Stool, Bistro Table & High Stool, by Designer, for Coordination
An arrangement of freestanding structures around a sheltered central courtyard rests in a saddle above Matiatia Bay. The natural undulations of the saddle have been subtly emphasized to form a natural setting for three roofed structures and freestanding raised pool. Inspiration for the site came from a study of lightweight, canopy- like structures, tensioned to the ground plane. Draped roof planes are tensioned to the surrounding landscape over interior and exterior spaces.
Island Retreat, Waiheke Island, New Zealand, by Fearon Hay Architects, Interiors by Penny Hay, Photography by Patrick Reynolds
The barn redevelopment project addresses the issue of the transformation of a disused farm, situated on the route leading out from the historical village centre, into a living space. The new architecture is related to the existing through a dialogue of tradition and contemporary, with the attention to a correct contextualization. The architecture is sober and proposes itself as a new project and, at the same time, as something that fits in with the existing village. The house is on three levels, the entrance is on the ground floor, with services areas and guest rooms overlooking the courtyard. The first floor is a unified space with kitchen, living room and study arranged around the block of the stairs and fireplace. Another room and a “loggia” are located on the second floor.
The facades are made of stone and wood, as the original texture, and have smooth concrete inserts, with a core of reinforced concrete, framing the new openings of the ground floor. The stone corner walls and roof are existed. The large openings are filtered by vertical oak axes, making up a manually moveable screen. The outdoor areas are arranged on three levels, as the natural slope, designed through a smooth concrete wall, that enunciating the theory of contemporary construction in continuity with the context.
Inside, the materials used are contemporary but not-compound and not-industrial. They are: smooth concrete, raw solid oak wood and hand- treated welded steel. The material has a rough appearance, but it is prepared and used not with improvisation and approximation, but instead with extreme accuracy, design and craftmanship. The smooth concrete has a static behaviour similar to that of a traditional brick wall. (There was not the possibility of using reinforced concrete inside because of the conditions of the construction site -the roof was maintained-). The new wall tries to merge with the old stone wall, as if it was its translation in the language of contemporary techniques. Everything is prepared before laying the concrete, switches, doors and window frames…
The implementation is experimental and derives from research through 1:1 scale models. All the oak used (25 cubic meters) was acquired and processed in the same place, so that material would have the same colour, behaviour and the same “patina”. The material used is a key element of this architecture. In this house the atmosphere is achieved through the care and culture of the craft, and materializes in line with the roughness of the place, and it is expressed in the designing of the details, in a homage to craftmanship, to know-how.
NASA astronaut Don Pettit recently uploaded a gallery of photos to the Johnson Space Center’s Flickr page.
“My star trail images are made by taking a time exposure of about 10 to 15 minutes. However, with modern digital cameras, 30 seconds is about the longest exposure possible, due to electronic detector noise effectively snowing out the image. To achieve the longer exposures I do what many amateur astronomers do. I take multiple 30-second exposures, the ‘stack’ them using imaging software, thus producing the longer exposure.”
- Don Pettit
Earth from the International Space Station, Photography by Don Pettit, via: Retina
Zero is void of any detailing, decoration or embellishement; just a simple collection of solid metal bands forming a single, subtle style for both men and women. Rings are offered in Sterling Silver, 18ct Gold, White Gold & Platinum. Zero is produced in Hatton Garden, London: one of the finest and most renowned jewellery locations in the world. All the items are mirror polished by hand, hallmarked and machine engraved with the Minimalux mark.
Piero Lissoni has designed Green, a system of sliding doors and freestanding frames made of brushed aluminum and glass. The system allows for separation between moving parts or spaces up to a maximum height of 3 meters.
Each of the five concepts presented at Superstudio in Milan explores a different, distinctive approach to glass achieved by the accomplished artisans in the Lasvit workshop in Nový Bor. For Lasvit’s Inhale Lamp, glass blowers form big air bubbles then inhale to produce an unusual shape with negative air pressure. X-Ray vases capitalize on transparency and reflection, two key characteristics of glass, to transform a series of domes within a larger mirrored dome, into a subtle, ever-changing optical effect. Press lamps in pendant and floor styles rely on light sources tucked into compressed glass tubes to produce soft, organic forms. Innerblow and Overflow tables deploy two techniques using metal forms and the flowing quality of molten glass to create smooth and water-like surfaces. Growing Vases are whimsical objects in which glass pipes give the illusion of vases blooming out of flowers.
Innerflow, Overflow, Inhale, Press (Smoke), X-Ray Vase, by Nendo, for Lasvit