To celebrate its 80th birthday, Lacoste—with the help of creative agency MNSTR—has imagined the ‘Polo of the Future’.
In a futuristic video to inspire creatives, revealed by the brand, ‘Polo of the Future’ features shirts true to the space-age fashion that have color-changing abilities, extendable sleeves, and neon-glowing fabric.
Lacoste is inviting fans to come up with and submit their own ideas for technologically-advanced Polos, that could change the way we shop and wear our clothes, on the website Lacoste Future.
Possibly no other knife in the world conveys its provenance and the consistency in its artisanry as clearly as the handmade knives from Nesmuk. Around four dozen work steps are involved in the production of a Nesmuk EXKLUSIV knife, from drawing and forging, tempering, annealing and the wet grinding of the hollow ground blade to the mounting of the handle. This is unusual, even in a craft establishment, resulting in maximum precision and perfection.
The Nesmuk EXKLUSIV with cutting edge is a masterpiece that is hand-crafted at our forge by our Nesmuk bladesmiths. It takes focused concentration over a period of many hours and, in some cases, days to produce the very fine black cutting edge in the best carbon steel below the wild Damascus. The Nesmuk EXKLUSIV with cutting edge has a Rockwell hardness of 64–65.
To gain official approval, Duvauchelle football stadium in Créteil needed changing rooms and a 300-seat stand, which have now been completed. Making use of the height difference between two pieces of land, the changing rooms are located underground and consequently merge into the greenery of this part of Créteil. The stand comprises an extruded concrete block, which bears a fleeting resemblance to a laptop and on which the yellow plastic seats are soberly lined up. The stand’s rear and the underside of its roof have been dressed in the same metal mesh. Accessible to spectators via a hanging walkway, the rear façade allows views over activities on the adjacent sports grounds (tennis, athletics, etc.). Precision and technical expertise are fundaments of both architecture and sport, and are here combined in elegant simplicity. The contrast between solid concrete and transparent metal mesh brings a frankness and a sensibility that complement both the virility and the poetry of sporting events. Beneath the stand, the changing rooms are styled in the noble Brutalist tradition of concrete undersides. Through their high vaults and the shafts of light that penetrate from above, they evoke a kind of Postmodern cathedral dedicated to new passions and new heroes.
MoMA’s ambitious survey of 20th century design for children is the first large-scale overview of the modernist preoccupation with children and childhood as a paradigm for progressive design thinking. The exhibition will bring together areas underrepresented in design history and often considered separately, including school architecture, clothing, playgrounds, toys and games, children’s hospitals and safety equipment, nurseries, furniture, and books.
In 1900, Swedish design reformer and social theorist Ellen Key’s book Century of the Child presaged the 20th century as a period of intensified focus and progressive thinking regarding the rights, development, and well-being of children as interests of utmost importance to all society. Taking inspiration from Key—and looking back through the 20th century 100 years after her forecast—this exhibition will examine individual and collective visions for the material world of children, from utopian dreams for the “citizens of the future” to the dark realities of political conflict and exploitation. In this period children have been central to the concerns, ambitions, and activities of modern architects and designers both famous and unsung, and working specifically for children has often provided unique freedom and creativity to the avant-garde…….
The Squish Studio is located just outside the small town of Tilting on the eastern end of Fogo Island. First settled in the mid-18th century, Tilting is known for its strong Irish culture and its recent designation by Parks Canada as a National Cul- tural Landscape District of Canada.
The Squish Studio’s white angular form, sited on a rocky strip of coastline, that could rival Italy’s western coast, offers sharp contrast to the traditional vernacular architecture of the nearby picturesque community of Tilting. As its architect, Todd Saunders, has commented on the studio’s siting, “…it is out of sight, but close.” The approach to the front entry of the studio is dramatic, as the most southern end of the studio rises twenty feet above the ground, in sharp contrast to its most northern tip that measures only half that dimension. The compact, trapezi- um-shaped plan of the studio is augmented by the extension of the east and west exterior walls to create a sheltered, triangulated south entry deck and a north terrace that overlooks the ocean. From a distant view, the streamlined form of the Squish Studio becomes apparent with its high back and low (squished) front designed, in part, to deflect the winds from the stormy North Atlantic.
As we approach the entry of the studio we are greeted by Silke Otto-Knapp, a London-based artist and the first occupant of the Squish Studio. As Silke brings us through the studio, the spatial compression of the tall and narrow entry area gives way to the horizontal expanse of the main room. The downward angled roof leads the eye to the full height oblong glass window focused on a splendid view of Round Head. The vertical white planks that line the interior walls are interrupted by a playful series of narrow windows integrated with an expanse of built-in cabi- netry.
Silke’s quick figurative studies on paper are posted on the walls, as well as, several large scale canvasses. She is delighted to work in such an architecturally inspired space, especially when it is stormy and she can experience the imme- diacy of the sea and, on some days, observe the dramatic shift of the island’s weather.
The Squish Studio, like most of its other counterparts, is equipped with a compost toilet, a small kitchenette and wood-burning stove. Power is supplied by stand- alone solar panels, mounted on an adjacent hilltop. Both the interior and exterior of the studio, including the roof, is clad with spruce planks that are painted white. At night, the studio, illuminated by the soft glow of its solar-powered lighting, appears as a lantern or a lighthouse placed strategically on a rocky cliff to over- look the North Atlantic. In its isolation, one can also imagine a sole occupant, vulnerable but protected from the elements – inspired to work late into the night, occasionally distracted by the crash of the waves, or perhaps, fully immersed in the work at hand, the first glimpse of the sunrise through the Squish Studio’s slot windows that face the north-eastern horizon.
Project for the London Olympics 2012
Collaboration with Cecil Balmond, Arup AGU
Award winning London-based artist Anish Kapoor has been given the commission of a lifetime to design the spectacular new public attraction in the Olympic Park. The stunning artwork, to be entitled ‘The ArcelorMittal Orbit’, will ensure the Park remains an unrivalled visitor destination following the 2012 Games, providing the key Olympic legacy Mayor of London Boris Johnson envisaged for the East End.
The breathtaking sculpture – thought to be the tallest in the UK – will consist of a continuous looping lattice of tubular steel. Standing at a gigantic 115m, it will be 22m taller than the Statue of Liberty in New York and offer unparalleled views of the entire 250 acres of the Olympic Park and London’s skyline from a special viewing platform. Visitors will be able to take a trip up the statuesque structure in a huge lift and will have the option of walking down the spiralling staircase.
Anish Kapoor’s proposal has been developed in collaboration with one of the world’s leading structural designers, Cecil Balmond of Arup. Balmond, who trained and lives in London, is known for his innovative work on some of the greatest contemporary buildings in the world, such as the CCTV building in Beijing, as well as numerous Serpentine Gallery pavilion commissions. The two began working together on the Marsyas project in 2002 and have become renowned for their ambitious, large-scale public art projects
Why more people aren’t doing this kind of things, we don’t know. La Boite Concept, a French design studio with a focus on electronic acoustics, has put together the above piece of laptop-loving music furniture, dubbed the LD120. It features a total of seven drivers, including a down-firing subwoofer and a stereo pair at the rear, the latter of which is intended to bounce sound off a wall and neatly into your ear canal. You’ll still only be getting 2.1 audio output at the end of it, but when it emanates from a leather-trimmed desk equipped with its own USB sound card and a cable-tidying channel in one of its legs, we’re kind of willing to overlook that little detail. We only wish we could be as blasé about the price, which at €980 ($1,300) places the LD120 strictly on our “hope someone buys us one” list.
He was one of the first to recognize the power of the press and had an intuitive understanding of PR. He was the first big designer who saw no shame in working for Printemps Department stores and he was the first to establish commercial relationships with China and Japan as well.
He also invented the first unisex line.
In 1959 he was the first to present a collection as a PRET-A-PORTER even before this word existed in french language …
as a result he was thrown out of the Chambre Syndacale.
One of the top new names to watch is South African born Drew Henry, whose graphic minimalist collection had CSM insiders and students buzzing even before the big show.
Henry was raised in coal-mining towns before settling in Johannesburg at the age of 17, when he studied at a technical fashion school specialising in commercial pattern cutting and sewing.
There, he excelled and quickly rose to the top of his class, setting his long-term sights on London.
“I remember reading old issues of i-Dand Dazed & Confused and seeing all these designers that had studied at CSM,”
“The first year, I struggled,” says Henry of his early days at St. Martins.
“All these people had design foundations and I was from a different school altogether. I could sew and I could make patterns, but the research, the development, that wasn’t there. It was a good knock for me because I’d had this attitude that I was a big gun. At CSM, it’s an environment where people are incredibly talented and you have to work that much harder to stand out”.
For his final collection, Henry spent hours in the CSM library looking for inspiration from his home country.
“I was finding South African references that I had never even seen before: books from 1965 that had been forgotten on the shelves.”
And it was there, amongst the old, long-forgotten books, that he stumbled upon the works of photographers, David Goldblatt, Jurgen Schadeberg and Roger Ballen. Their social documentaries of South Africa’s working class became the jumping-off point for Henry’s graduate collection entitled, Intersections.