"Lotty Lindeman’s door is a design that is full of functionality with a unique twist on hidden passageways of olden times. As the Wall begins to move, we notice the bright red design come to life as it twists the wall/door opening revealing a once hidden secret space."
photo by lottylindeman.nl
photo by lottylindeman.nl
"Designed by architects Steven Holl and Marcela Steinbachová, the library space is completely defined by bookshelves — including shelves that rotate 360 degrees, offering access to even more bookshelves..."
"Doors can be fun. No seriously they really can. The Ping Pong Door functions just like any ordinary door except there’s an inner panel that flips down to make a ping pong table. Pop the little plastic net on and get your paddles ready. The only requirements are the adjacent rooms have enough room for you to play in. The only downside is one side of the door looks normal while the other is bright green. Try fitting that into your home decor."
"What is the digital revolution and how is it affecting the way we conceive the modern, urban home? Digital Architect profiles Shadi Shahrokhi, inventor of the revolutionary Trak-Kit system and principal of Shadi + company a New York-based design studio. A self-proclaimed audio and videophile, Shadi is at the center of the convergence of technology and design which allows for an increasingly democratized digital world. He addresses issues of mobility, efficiency, and elegance and explores new ways of conceiving and realizing the environments where we live, work, and play. First-person observation and Shadi's own words shed light on an architect whose visionary work is defining new ways for consumers to integrate digital technology into their homes."
's Baggers ist ein High-Tech-Restaurant in Nürnberg, Deutschland, dass aussieht wie eine Achterbahn.
Auf spiralförmigen Gleisen, gleiten Speisen und Getränke an die Tische der Gäste. Bestellt wird über einen Touchscreen, sodass keine Kellner benötigt werden. Das mit den Gleisen hat sich Herr Mack zum Patent anmelden lassen. Der Betreiber sieht nämlich einen großen Markt für das automatisierte Restaurant.
Mit diesem Konzept spare man enorme Kosten, denn verglichen mit einem herkömmlichen Fast Food Restaurant können in einem Fast&Good® Restaurant 60 - 80% der Mitarbeiter im Front End Bereich eingespart werden, da dort keine Bestellungen oder Bezahlungen mehr von ihnen abgewickelt werden müssen. Dies bedeutet ein Kosteneinsparungspotential von mindestens 200.000 Euro pro Restaurant pro Jahr.
photo by heinemack.com
Dieses Restaurantkonzept ist ein echter Hingucker, der für jeden Gast viel Spaß und ein außergewöhnliches Restauranterlebnis bringen wird. Doch meiner Meinung nach, ist dieses System noch nicht ausgereift. Denn wie ich auch aus dem "Testbericht von Mega008" entnehmen konnte, passiert nach dem Essen was unerwartetes. Leibhaftige Kellnerinnen räumen die Teller und Gläser ab. Warum, so fragt man sich, bringen die gleichen Leute nicht auch das Essen zum Tisch – dann könnte man sich das ganze Schienensystem sparen. Also mein Appell an HeineMack, lieber dieses System weiter verbessern anstatt sich derart übertrieben zu präsentieren:
Zum Beispiel "Die HeineMack® GmbH isteine erfolgreiche Kombination aus innovationsstarker, kreativer, unkonventioneller Ideenschmiede und zuverlässigem deutschen Unternehmen für Erfindungen, die das Leben leichter und angenehmer machen."
photo by heinemack.com
photo by heinemack.com
Ein Lösungvorschlag wäre zum Beispiel, das Transportsytem als ein geschlossene Gleisenstrecke zu betrachten, um so die benutzten Teller und Gläser über das Gleisensystem abzuführen. Diese würden dann zu eine dritte Ebene geführt, dort gespült und zur Küchenebene hochtransportiert. Dann müsste man auch ohne die Kellnern ,die für das Abräumen und Spülen zuständig sind, auskommen. Und wenn man auch clevere automatische Geschirrspülgeräte einsetzt...
Wie gesagt, das System ist noch nicht ausgereift, doch jede Innovation muss sich weiterentwickeln. So wie das Schienenkonzept. Trotz allem hat dieses Restaurant Zukunftpotenzial. Mal sehen was draus wird! Ich jedenfalls werde es bestimmt bald besuchen!
photo by http://www.mediaarchitecture.org/wp-content/uploads/2006/06/PR_2003_hyposurface_002_p.jpg
"Bei der "Aegis Hyposurface" handelt es sich um ein Stück Prototyp-Fassade, die computergesteuert verschiedenste Aktionen wie Wellenbewegungen, Faltungen, Knicke, Ausbeulungen usw. ausführen kann, und das jeweils unterstützt durch farbiges Licht. Genaugenommen stellt der Prototyp eine Übergangsphase dar zwischen kinetischer Kunst und Architektur, bei der sich neue – virtuelle - Medien mit "realen", also haptisch und visuell wahrnehmbaren Aktionen verknüpfen lassen. Die Architekten gehen dabei noch einen Schritt weiter, in dem sie von einer "animierten" – also beseelten – Oberfläche sprechen, die von sich aus zu Reaktionen auf unterschiedliche Umfeldveränderungen fähig ist. Der Name "Aegis" ist dabei symbolträchtiges Programm: Pallas Athene, die griechische Göttin, trägt in ihrer Kriegsrüstung nicht ein konventionelles Schutzschild, sondern auf dieser mit Ziegenfell bespannten Metallscheibe zeigt sie offen sichtbar Trophäen wie die Haut des Giganten Pallas und den abgeschlagenen Kopf der Medusa – einerseits ein Werkzeug der Verteidigung, andererseits ein Mittel der Abschreckung sowie gleichzeitig ein Zeichen von Selbstdefinition, Bezeugen eines Standpunkts." 1
photo by http://www.baunetzwissen.de/imgs/21535783_6252c4101a.jpgphoto by http://hyposurface.org/photo by http://hyposurface.org/
LAB[au]:"16ⁿ _ ƒ5³ is an interactive kinetic light sculpture, extending the bi-dimensional screen space, by transposition of its pixel resolution to the physical space. Conceived as a modular infrastructure, 16ⁿ _ ƒ5³ is a communication and computation system, propagating in form of light and sound, the events it inhabits. Presence and motion create and alter the transmitted data, and propagation of this data becomes a space-time parameter.
ƒ5³ _ framework 5*5*5 refers to informatics' modular workspace, called a framework. Here, ƒ5³ 's "frames" constitute the framework, a space built up by five modules of 2*2m, divided in 5*5 squared elements, establishing a matrix of 5*5*5 = 125 modules. At the one side diffusing the light (white) and at the other side absorbing the light ( black ), the modules constitute a binary language (0,1) and a space of 125 pixels, allowing to transcribe captured data from the physical environment in a kinetic and luminous play _ in between opening and closing, in between transparency and reflection, in between light and dark."
photo by LAB[au]
photo by LAB[au]
Interview: The Brussels based media art laboratory LAb[au] was founded by Manuel Abendroth, Jérôme Decock, Alexandre Plennevaux and Els Vermang, each with diverse backrounds in architecture, visual arts and music. They have since jointly created interactive artworks, audiovisual performances and scenographies, for which it develops its own software and interfaces. LAb[au] also founded the digital arts gallery, Mediaruimte in Brussels in 2003.
1.You have been influenced by?
Lab[au]:"Since it’s founding in 1997 LAb[au] explores digital architecture and MetaDesign focusing on the question “how technologies of computation and communication transforms the construct of space on the level of its perception, interaction and meaning”. LAb[au] projects span across a broad range, from experimental projects proper to the one of a lab to the one of production (bau = the construction). Our agency name LAb[au] is thus the result of different readings and pronunciations _ the one of the French phonetic writing of laboratory, ‘labo’ standing for a place of artistic and technological experimentation and research and the German reading of ‘bau’ which stands for construction and realisation. From this view point our references reside in the experimental and technological approach on art, such as the cybernetic art of the sixties and more precisely the one of Nicolas Schöffer, among many others. Further on, the use of ‘Bau’ isn’t innocent and directly refers to the Bauhaus movement which for us stands as a breaking point in the artistic quest to examine and rearticulate the technological progress in relation to artistic practice and aesthetics. Their advance of industrial design stands for an artistic practice based on methods according to a technological progress, the industrial revolution which has a lot of common points to the questions we face according to the informational revolution we face nowadays. Mostly the methodological and reductionist approach in order to research is a proper aesthetic and practice, the one of design is a common ground for our work. Therefore we describe our work as MetaDesign describing this form of research in relation to advanced technologies of computation and communications."
Lab[au]:"We had the extraordinary chance to experiment the way we can rethink urban space exploiting advanced technologies on a huge scale, the one of a 145m high skyscraper. In this sense the real-time interface allowing citizens to interact with the enlightening of the tower is far more than a fancy and playful device to create an attraction but it induces the involvement of everybody in the city image. For this reason it also was important for us that people could snap a picture showing their ‘creation’, the enlightened tower placed inside the Brussels skyline, in form of an electronic postcard, they could send as a greeting card for 2007 new years’ wishes. The entire project, this communication chain, creates an exchange in between the individual and the public space, the collective sphere, exploiting IC technologies, its processes and logics, to create a new and contemporary form of urban artefacts.
Since a long time LAb[au] has been occupied with the active use of IC technologies to conceive and create spatial processes exploiting all the potentials these technologies can offer but which in this size we hadn’t had the opportunity to realise so far."
photo by LAB[au]
3.What do you think about kinetic architecture?
Lab[au]:"In our recent project cycle 16n and the first 2 projects realised, framework and binary waves, we enlarged the reflections of the Dexia tower towards kinetic structures to find solutions besides the use of artificial light for day and night installations. Here the use of ‘controlled’ kinetic elements allows us to create different forms of interaction and readings proper to a 24h situation. We will pursue this reflexion with our next two installations ‘nixie field’, foreseen for 2009, and ‘crt space’ for 2010. Thanks to the kinetic vocabulary we hope to be able to have an interesting base, vocabulary, to react on different spatial contexts."
4.What are the main determinants in the design process for you?
Lab[au]:"For us, there are two main methods: the first one we describe as parameter design and the other as reductionism. The first aims to research a proper language, an aesthetic, derived from the technologies we apply. The second is to reduce the design to a basic set of rules allowing the vision of the ‘set of rules’ and the systems / processes, we apply. In summary, MetaDesign is about the setting of codes / language drawn from information sciences - cognitive science with that of process methods, design and spatial constructs – architecture in the general cultural paradigm and in the production and conception of today’s signforms."
5.Any maxim you’d like to leave for our readers?
Lab[au]:"To answer this question I will return to The ‘touch’ project which deals with the inter-action in between the citizen, the place, the skyscraper and the city based on an elementary and interactive language of light, geometric shapes and gesture recognition. The design aesthetics are directly deduced from abstract art such as Mondriaans ‘elementarism’ and Kandinsky’s ‘point and line to plane’ as the skyscrapers architecture [ points = pixel = windows, lines and diagonals = levels and edges of the building and surface = facades ]. Further this vocabulary defines the interactivity design focusing on the architectural and urban quality of the project as it eliminate any metaphor, ‘noise’, from the shaped relation in between the public interaction and the building enlightening. The design thus focuses on the relational qualities expressed by an elementary language and exploits interactivity not as being a control system but rather a catalyst for these relational / representational parameters.
In this sense the most enhancing experience of the project is that such an abstract an architectural language is no border for everybody’s understanding / interaction but in contrary can enhance everybody’s appreciation and pleasure."
6.What are your current obsessions and preoccupations?
Lab[au]:"As mentioned, we are occupied with the setting of two new projects within the 16n cycle. The challenge for us is to create contemporary constructs of interaction and contemplation based on the tools which shape our society. Besides the realisation of these ongoing projects we pursuit our digital art gallery in Brussels called Mediaruimte http://www.mediaruimte.be , a space by artists, for artists, dedicated on experimentation, exhibition and research. This combination expresses our design between research and development, a preoccupation we follow since several years."
Heute stelle ich euch 4 geniale Stühle vor, dabei ist das Hauptaugenmerk auf die Flexibilität gesetzt. BBB PICK CHAIR Als erstes kommt der BBB PICK CHAIR entworfen durch Dror Benshetrit. Es bietet die Möglichkeit einen ungenutzten Stuhl an der Wand aufzuhängen um Platz zu sparen. Außerdem besitzt es die folgende Maße: unbenutz hat es eine ausklappbare Länge von 172 cm und als Stuhl 51cm Länge x 38 Breite x 86 Höhe.
Inspiriert von alten Brotboxen hat Designer Olafur Omarsson den Mogga entworfen. Es bietet die Möglichkeit einen Stuhl leicht in einen Tisch umzuwandeln.
Flexible Love Da ich schon über den Flexible Love gepostet(VideoPOST 21.04) habe, stelle ich euch hier neue Fotos vor. Dies sind Fotos von Mini Flexible Love den ihr hier kaufen könnt: www.flexiblelove.de/
Letztendlich lassen einen die hohen Designerpreisen anleiten sich eher eine größere Wohnung zu leisten als sich diese innovative platzsparende Stühle zu kaufen. Nunja wer trotzdem nicht genug bekommen kann, sollte hiermal die ganze Geschichte der “Folding Chairs” anschauen. Es lohnt sich!
Flow 5.0 ist eine interaktive Landschaft des renommierten niederländischen Ateliers "Studio Roosegarde". gemacht aus 1200 Lüftern von Xilence. Die Installation reagiert beim Vorbeigehen auf Schall und Bewegung, sodass der Betrachter hiermit auf eine beeindruckende Weise interagieren kann. Schaut es euch an!
Flickr-photo by Studio Roosegaarde
Flickr-photo by Studio Roosegaarde
Exclusive Interview(English) with Daan Roosegaarde: Roosegaarde’s work explores the dynamic relation between architecture, people and new media. His sculptures are a collision of technology and the human body. In this interaction the sculptures create a situation where visitor and (public) space become one. (1)
Foto by http://www.studioroosegaarde.nl/
1. What are the main determinants in the design process for you? Daan Roosegaarde:"I am highly interested in the dynamic relation between your body and its surrounding architecture. Technology is becoming a more and more influential element in the way we communicate and experience our social identity. I am interested in making environments which merge technology into this sensual, techno poetry experience."
2. What made you come up with the concept of Flow 5.0? Daan Roosegaarde:"After the success of 'Dune' there was a strong need for me to move away from LEDs and make something you could actually physicially feel. The beauty of Flow 5.0 is that it exist out of 1000 fans (made in Taiwan) but creates these beautiful fields of transparencies and artificial wind when your hands gets nearby."
3. What did you experience while developing Flow 5.0? Daan Roosegaarde:"At Studio Roosegaarde we developed the design and interactive tech such as the electronics, software and sensors. Its a very precise work of art with a high notion of detail. One intern went mad while working on it and left. Main goal was to embed all elements so you would not see the wires or sensors but experience the artwork that respond to you; as an extension of your skin. By placing in at the premiere of TodaysArt in the City Hall of The Hague NL people would interact with the artwork on a daily base."
Flickr-photo by Studio Roosegaarde
4. What do you think about kinetic architecture? Daan Roosegaarde:"A lot of it remains responsive, not interactive. It should be something which creates a 22nd century 'natural' relation with the building and its visitors; something which morphes and evolves based on this interaction. Just see how the staircase updated itself within several years into the escalator- from static to motion detected installation. The technology is there but it remains the question what we want to talk about and how we give a social sense to this topic. This is the exploration of interactive architecture."
5. What are your current obsessions and preoccupations? Daan Roosegaarde: "We just finished the first version of the Sustainable Dance Floor(Post 25.07 + Part 2); a floor which generates energy when you dance on it. At the moment we are developing Liquid Space 6.0; an interactive space on motion and sound. It will be exhibited in public space in Japan beginning of November. After that we will be working on more larger scale architectural projects such as an interactive facade. You feel that the projects are up-scaling; something which is a very exciting exploration."
6. Any maxim you'd like to leave for our readers? Daan Roosegaarde: "stay tuned at www.studioroosegaarde.net"
If you still can't have enought of Daan Roosegaarde. Here is also a interesting interview by Nimk.nl
photo by lottylindeman.nl
photo by lottylindeman.nl
