Posted by Eugeen Liebaut architecten BVBA
The design of the building refers to an archetype: a ground floor building with a high pyramidal roof (cf. dutch stolpboerderij, the origin of the female resident is the Netherlands), but it gets its own
Posted by PLUSMINUSARCHITECTS
Dlhé Diely is a hilly residential area in the western part of Bratislava. It origins at the foothills of the Little Carpathians. By the end of the seventies it was a place of gardens and vineyards of
- Architects: Fouad Samara Architects
- Location: Koura, Lebanon
- Lead Architects: Fouad Samara, Jad Abi Fadel, Lara Alam
- Area: 2567.0 m2
- Project Year: 2015
- Photographs: Ieva Saudargaite
- Main Contractor: RK Engineering
- Structural Engineer: PAG for Engineering s.a.r.l.
- Mechanical Engineer: Omar Ismail & Partners
- Electrical Engineer: Georges Chamoun Electrical Engineering Office
- Client: University of Balamand
From the architect. CASID is a recent addition to the existing and firmly rooted fabric of the University of Balamand. It creates a forum for cultural, intellectual, and religious exchange; and aims to embody the progressive ethos of the University, fortifying its role as a nexus for excellence in education, thought, and dialogue within the Arab world.© Ieva Saudargaite
Located on a gently sloping site with an unobstructed view of a walnut grove, the campus in the foreground, and the Mediterranean Sea beyond, the design of CASID evolved from the concept of dialogue. Dialogue with its immediate site, architectural heritage, and wider cultural context of Al Kurah and Lebanon.© Ieva Saudargaite Ground Floor Plan © Ieva Saudargaite
The building aims to engage faculty, students and visitors alike, be a non-authoritarian accessible platform for cultural and intellectual exchange, and offer a progressive image of Arabs to the world.Sketch
A modern interpretation of the traditional courtyard buildings of the Levant, CASID is not a fort like structure. On the contrary, it knits itself into the site, opens to all its surroundings, and engages with them. A forum for the entire campus, it opens up towards the West symbolizing its role as a vehicle for intercultural dialogue. Access to the building is provided from all sides and respective levels of streets and landscape around, further symbolizing its role as a nexus of exchange accessible to all. The eastern part of the building roots itself into the landscape, and is built perpendicular to it, reflecting how traditional Levant architecture deals with construction on a slope. The western part hovers heroically creating the main entrance aligned to the street while embodying the aspirations Arabs must have for the future. The southern part acts as a natural extension to the landscape itself.© Ieva Saudargaite
The roof is seen as the fifth elevation clearly visible from the hills around, and therefore developed into an accessible green roof preserving the planted heritage of the site and providing another public space with unparalleled views.© Ieva Saudargaite
The materials pallet chosen for CASID is simple and precise. In addition to clear glass, used critically where the building touches the sloping site allowing continuity between in and out, rough shuttered reinforced concrete - ‘Beton Brut’, the indigenous building material of the day in this part of the world - is used for the structure and envelope. Non-structural walls and suspended ceilings are painted white. Floors, in and out, are honed Basalt. Façades exposed to the western sun have aluminium sun baffles articulated in both spacing and size as a modern and abstract interpretation of Arabesque – itself a play on the size and rotation of geometric forms.© Ieva Saudargaite
By applying a stringent design process, void of stylistic preoccupations, Fouad Samara Architects (FSA) have aspired to create an indigenous piece of architecture that precisely responds to the use of the building, its site, and the cultural message it wants to send out. In defining this aspiration, CASID becomes an objective and honest translation of that.© Ieva Saudargaite
- Architects: Jun Igarashi Architects
- Location: Tomakomai, Japan
- Lead Architect: Jun Igarashi
- Area: 137.0 m2
- Project Year: 2016
- Photographs: Ikuya Sasaki
From the architect. I keep on design activities in Hokkaido, so most of my projects ran there. By designing in a remarkably cold, I continued thinking on response to completely different contexts from other areas. They are mainly “cold” and “snow”. Of course there are other various things to deal with, but these contexts have the great impact. In this state, I felt the possibility of “a windbreak room” and thought about the expansion and diversity.© Ikuya Sasaki
This was not only a physical response, but also a response to pleasure. Even in the building code, there are rules that respond to the area of the frost line. However, the code primarily corresponds to performance, not to pleasure. Some people think it is natural, but I think that it is natural to think that its criterions are for the purpose of people's pleasure. In that case, I have long believed that there should be regional standards and easing of regulations about the size of the "roof" in the snowy land. Snowfall gives various restrictions to our life. The most serious of them is cleaning snow. Houses are often built mainly in residential areas. That means that the building coverage ratio is low. Therefore, the size of the roof becomes smaller.Ground Floor Plan © Ikuya Sasaki First Floor Plan © Ikuya Sasaki
What I always think about when I designed for example the roof of the approach between the “windbreaker room” and the main infrastructure road and the parking space is that the life in snowy land is dramatically improved by rather doing away with than easing of the building coverage ratio. Furthermore, there is a possibility that it can lead to the creation of landscape peculiar to the area. From this kind of thinking I designed this house. First of all, we set up a large roof full of building coverage ratio and placed a compact one-room dwelling below it. The air volume was reduced by using the frost line.Section
Between the interior space and the outdoor space there is a rectangle under the large roof. Although this space is treated as an indoor in the building code, physically it can be said that both outdoor and indoor, semi-indoor and semi-outdoor. The rectangle under the roof responds to the pleasure of life both summer and winter. And it will connect life with the city and the earth space. It is also an attempt and possibility of an intermediate area.© Ikuya Sasaki
- Architects: Shanghai HuaDu Architecture and Urban Design Group (HDD)
- Location: Shanghai, China
- Architect In Charge: Zhang Haihan, Li di
- Design Team: Zhang Haihan, Li di, Gu Wenlin, Huang Anqi, Li Xiaolei, Wu Hao, Xu Hang, Yuan Yinxuan
- Area: 35.0 m2
- Project Year: 2017
- Photographs: Su Shengliang
- Landscape: Duan Jianqiang
- Structure Design: Wang Guoxun
- Furniture Design: Liu Dan (Zhao zuo), Li Di (HDD)
- Interior Light Design: Zang Haiyan (Velux China)
- Decoration Construction: Shanghai Zhiheng Construction Engineering Co., Ltd., Sun Fei, Sun Yize, Zhang Yi, Zhang Shaoming
- Movable Furniture: Kunshan Shengshi home with Furniture Co., Ltd., Ruan Hingjing, Zhao Zunxiang, Yang Hongzhi
- Skylight Provider And Installation: Velux (China); Zang Haiyan, Shanghai Ming source Industrial Co., Ltd. (Wei Lukesi Shanghai dealer with the installation), Maliping
- Soft Equipment Provided: made ZAOZUO, Liu Yan, Chen Zhen, Sun Jinzhou, Huang Yuying
- Perforated Plate Provider And Installation: Shanghai Shengting Construction Technology Co., Ltd., Qiu Min, Ji Xintang, Xiao Qiao
- Kunqu Guidance: Shen Yilian (Suzhou Youth Art Troupe)
- Special Thanks: Suzhou Net Master Park, Shanghai Mu Ge Television Media Co., Ltd., Indigo Hotel
- Contribution: Shanghai Huadu Building Planning & Design Co., Ltd Special thanks to: Han Jing, Xia Zhiyu, Liu Yamin
From the architect. The project is located in an old historical district in Shanghai within more than 70 years. It has be the sole living space for three generations. Now it will be served as a brand new apartment for the youngest couple. With the limitation of 35sqm, the squeezed space should be sufficient for all three generations.Diagram Diagram
One of the biggest feature of the building is the triple height space. The architect blend the spatial quality of Chinese garden with full richness into such a small apartment, transforming the space complexity from 2d to 3d, creating a dynamic moving experience in the project.© Su Shengliang
In the most of traditional Chinese gardens, the space is quite limited. So one should find a way to squeezed all nature elements into this small plot. There are several techniques be used in Chinese landscape design, which could also be implemented into interior design.Diagram
"Seeing grandness through smallness" is one of the most important techniques. One should experience much more bigger space in such small plot.© Su Shengliang
In this project, designer used many movable doors and furniture to transform space form closed to open, creating much more dynamic space experience in small scale. People could see different thing by walking along the space. This is call "moving by seeing" in garden making.Section Floor Plan
All rooms become only a fracture of the whole experience, creating a holistic opera experience altogether. The strategies of " winded walking circulations" as well as "borrowing views from outside" are also heavily implemented in the project.© Su Shengliang
"The Story of the Western Wing" as one of the greatest opera of all time, is also introduced in the project. We want to recreate the scenes of this opera in this tiny nutshell.© Su Shengliang
For instance, "TING", meaning pavilion in Chinese, is recreated in the top of the space, becoming a social space for chatting and relaxing. "Tai", meaning podium, is created for the living room, providing Tv and other entertainment system. "Shui" meaning water, indicates the whole walking experience in the apartment.© Su Shengliang
The whole project is a collage of traditional Chinese garden and modern city life, in order to project the relaxing old fashioned Chinese landscape design into modern fast-pace life in contemporary Chinese metropolis© Su Shengliang
Posted by Arquitectos Locales Perú
Servicios de arquitectura, diseño y construcción de departamento duplex de 37 m2 para soltero con presupuesto limitado en Miraflores Lima, Perú.
- Architects: Department of Architecture
- Location: Bangkok, Thailand
- Lead Architects: Twitee Vajrabhaya, Amata Luphaiboon
- Design Team: Peerapat Singkalvanich, Penlada Somjaidee, Komkrich Thonglaem, Tanasab Apiwannarat, Worrawit Leangweeradech, Tanapat Phanlert, Phasit Rattanachaisit, T-mah Chaivuthigornvanit
- Area: 9950.0 m2
- Project Year: 2017
- Photographs: W Workspace
- Landscape Architect: Shma
- Lighting Designer: ACCENT Studio
- Graphic Designer: G49
- M&E Engineer: EEC Engineering Network
- Structural Engineer (Main Structure): K.C.S. & Associates
- Structural Engineer (Furniture): JET Structural
From the architect. Thailand Creative and Design Center (TCDC) is a government agency with a mission to inspire creative thinking in the society and to propel the country’s creative economy. It provides a broad range of resources and services. The main components are a design library, a material library, and a co-working space. Other components include a makerspace, exhibition spaces, and workshops.© W Workspace
TCDC is now moved to its new place in the side and back wing of the historical Grand Postal Building. The design of the space is intended for the new intervention to have a dialogue with the old building and at the same time to answer to TCDC’s mission to be the country’s creative incubator.Exploded Floor Plans
A creative space is not ‘creative’ because of how it looks but it is a place that inspires. It is about creating a space where people can connect, discuss, and work together. It is a place where people can see and be seen on the activities they do to inspire one another. It is a place that would allow for the new and the unknown events to happen, a reprogrammable space. It is a place that surrounds us with inspiring resources and knowledge, with books and digital media, and rotating exhibition spreading throughout.© W Workspace
The resource center is not planned as traditional silence libraries. Instead, a large portion of space is designed to encourage conversations in a setting more like a cafe or a co-working space. These work spaces are spread throughout the building mixing with other programs where work and discussion can happen everywhere. The openness of the space brings people together and allows for them to start to interact with a spontaneous conversation. The main circulation cut through the section of the building bringing people to flow pass different facilities to be inspired by what others are doing. Most of the spaces are flexible with movable furniture and adjustable systems to allow for flexible situation and various creative activities to happen.© W Workspace
Exhibition nodes are integrated into all spaces - with shelving systems, wall systems, spaces along corridors, corner spaces, central spaces. Fresh ideas are always presented within reach and always surround us for inspiration.© W Workspace
Within the historical building, the new is inserted as an object, placing within and offsetting from the existing envelope, clearly revealing architectural features from the 30’s. The present-day material in its light, translucent, blurring, and glowing quality is having a dialogue with the massive character of the historical shell. The new and the old are interestingly contrasting, enhancing and complementing one another.© W Workspace
This translucent architectural system wrapping around and inserting throughout the facility is holding the essence of what TCDC provides - inspiration and knowledge. It is designed to contain everything from books, magazines, material samples, digital media, mini exhibition, brainstorm boards, announcement, etc. The inspiration runs through and encompasses all the creative spaces.© W Workspace
From the early morning coastal fog cloaking the toothy shoreline of the 2017 Pebble Beach Concours d’Elegance emerges a matte orange visage, the fog parted by the creased silhouette of BMW’s latest expression of design. The BMW Concept Z4 roadster has arrived.
The Concept Z4 presents itself as the 2-seat distillation of the company’s currently evolving design language – a complement and continuation of the foundation set forth by the recently unveiled Concept 8 Series. Imbued with a similar, though not identical, attention to proportions as the Concept 8 – here, BMW aimed for the spirit of a sports car vs. the Concept 8’s more luxury-focused intentions – a muscular dynamism paints the Concept Z4 as a wholly new interpretation of the roadster, demolishing the softer curvilinear silhouettes characterizing previous Z3/Z4 vehicles. It’s like BMW sent the Z4 away for a few months of Crossfit, returning lean, mean, and chiseled with muscle in a state of perpetual tension.
In person, the Concept Z4’s angularity communicates both lateral movement of motion with the perception of verticality accentuating the car’s low-slung posture. One can identify many sections sharing design DNA with the Concept 8 Series coupe, just reduced and lowered in servitude of driving in intimate contact with the road and the elements.
From Adrian van Hooydonk, Senior Vice President BMW Group Design:
The BMW Concept Z4 in an all-out driving machine. Stripping the car back to the bare essentials allows the driver to experience all the ingredients of motoring pleasure with supreme directness. This is total freedom on four wheels.
Those who’ve followed news about this highly anticipated announcement undoubtedly have read about the partnership between BMW and their Japanese counterparts at Toyota in co-developing the shared platform underpinning this concept car, alongside an upcoming return of the Toyota Supra. When asked about this pairing of companies, BMW’s Adrian van Hooydonk emphasized each of the company’s design teams worked isolated from each other, only speaking later in passing, mostly to admire each other’s explorations in affirmation, not in co-development.
“The Concept Z4 is through and through an expression of BMW design, a conclusion that could only emerge from our company’s heritage and focus. Toyota’s car will be something entirely different and represent their goals, but this is completely a declaration of BMW design,” explained the always amiable van Hooydonk.
Those seeking specifics about performance will have to make due for now knowing the eventual production vehicle will be a rear-wheel drive partnered with a straight-six engine; thankfully a manual transmission option will be available, allowing roadster aficionados to enjoy driving old school in a very new school ride.
The Concept Z4 will most definitely see alterations to its aspirational expression in its journey from concept to production, hopefully with only minimal changes to what we like most about its new aggressive personality. BMW insists this show car is close to what we’ll see racing across roads eventually as a 2019 year model, a definitive teaser rather than a wildly explorative concept. With two-seater roadsters becoming an increasingly rare automotive commodity for sports car enthusiasts, we’re excited the segment will soon be served by a design that promises to look as exciting as it drives.
- Architects: Linehouse
- Location: Xingfuli, Shanghai, China
- Area: 20.0 m2
- Project Year: 2016
- Photographs: Dirk Weiblen, Jonathan Leijonhufvud
From the architect. Linehouse was commissioned to design the second store for streetwear retailer ALL SH, to create a completely different identity from the first store. The 20 sqm store is located in a design community with a large shop frontage.© Jonathan Leijonhufvud Plan © Jonathan Leijonhufvud
Responding to the urban nature of the store location, Linehouse created a curved stainless steel installation which operates as a retail system on the interior, as well as a dynamic façade treatment. Perforated stainless steel panels with a graphical treatment of varying punctures and patterns were inserted, shifting between the inside and outside and creating pockets of the retail display either facing out onto the street or into the store.© Jonathan Leijonhufvud
A large curved panel creates a sweeping passage for customers to enter the store.Tubelights are inserted within a U channel between each panel to create an impactful and playful lighting effect for passing pedestrians.© Jonathan Leijonhufvud
Herzog & de Meuron, in collaboration with Michel Desvigne Paysagiste, Inessa Hansch and executive architect Gensler, have revealed designs for a new “Scholars’ Campus” for global think tank the Berggruen Institute to be located in the Santa Monica Mountains overlooking the city of Los Angeles.
Inspired by the designs of traditional monasteries and hilltop villages, the scheme is rooted in the restoration and appreciation of the landscape. Along with the series of structures containing the Institue’s residence, meeting and study spaces, over 90% of the 447-acre site will be preserved as natural open space.© Herzog & de Meuron
“The mission of the Institute is to develop and encourage new ideas for a changing world and to propose practical solutions that can transform society—and humanity—for the better,” said Institue founder Nicolas Berggruen. “By building our campus here on the Pacific coast, we hope to advance the position of Los Angeles as a world center for ideas, linking the East to the West. By commissioning this visionary design from Herzog & de Meuron, we demonstrate our intention to make an important contribution to the architecture of Los Angeles and the world.”
The project site is located along a mountain ridge that was flattened in the 1980s as a landfill cap. The extreme topographical limits of the site shaped the campus into a linear path dotted with landscaped gardens. Filled with local flora, these areas help to collect and filter water for reuse. Existing public hiking trails crossing over the site will be incorporated into the campus design, enhancing access to the Institute.© Herzog & de Meuron © Herzog & de Meuron
The 137,000-square-foot main facility is placed at the southern end of the ridge, a concrete structure hovering 12 feet above the ground and framing panoramic views of the city and landscape. Here, the main living, studying and meeting spaces feature on one level, with mezzanine spaces interspersed throughout, providing accommodation for up to 26 Scholars-in-Residence units and 14 Visiting Scholars. A central sphere rising 45 feet beyond the roofline of the frame will serve as the beacon of the site, as well as hous a 250-seat lecture theater.
Further north, the “Scholar Village” will offer 26,000 square feet of residential spaces featuring generous private outdoor areas and living gardens. At the northern end of the campus, a 26,000-square-foot single-story compound known as the “Chairman’s Residence” will contain a library, conference room, dining and catering areas and additional residential areas. A heavily landscaped area of the north side of the building will act as a buffer between the Institute and the nearby residential community.© Herzog & de Meuron
“The Berggruen Institute's architecture is intertwined with a specific landscape concept.” said Jacques Herzog. “The rough coastal scrubs and woodlands on the hills and ridges of the property within the Santa Monica mountain range will be juxtaposed with an abundance of specific and diverse gardened areas. The current barren ridge where the campus will be sited is transformed into a self-sustainable oasis by means of a water system within the Institute's campus based on harvesting, collection, cleaning and re-use.”
“Such transformative, immediate impact is also what the Institute and its fellows aim to achieve through their work on today's most urgent concern: the economic, political and ecological imbalance in our societies between scarcity and plenty.”© Herzog & de Meuron
Plans for the project have been submitted to the City of Los Angeles for environmental review. A timeline for construction is yet to be announced.
Porcelain Bear unveiled a series of lights called Acrobat that are suspended by a hanging trapeze, taking inspiration from the aerial performances acrobats are known for. The four piece collection merges the simplicity of Bauhaus design with the sophistication of Brancusi’s 1923 Bird in Space sculpture to result in imaginative fixtures that have you envisioning an actual person doing tricks on a high wire.
Double Act allows for two components to be balanced on one shared “trapeze.”
Back Flip features a curved, 90 degree bend with two translucent porcelain shades reaching out from each side.
Forward Bend is slightly more complex than the Back Flip with its 180 degree curved metal bar, which has two parallel shades extending down.
Flat Bar is the most simple with a single bar extending out on both sides.
100% Design is the largest trade show in the UK for architects and designers and the cornerstone event of London Design Festival. This year, the show is returning for its 23rd edition in Olympia London from September 20-23. There’s a lot to see and do, as the show is covering five distinct sections: Interiors, Workplace, Kitchens & Bathrooms, Design & Build, and Emerging Brands. If you’re not registered yet, get a ticket here!
Every year, there’s also a theme that gets reflected across the show’s installations, features, talk programs, and show design. This year’s theme is “Elements,” which will cover overarching themes like fundamentals of design to the nitty gritty like the nuts and bolts of a product.
Emerging Brands will spotlight the freshest ideas from new, up-and-coming talents. Fun fact: the platform has been the launchpad for leading designers such as Ella Doran, Tom Dixon, and Barber Osgerby! This year exhibitors include Odddot, Thirty Line Design, Mash.T Design Studio, Citradi, and Mairi Helena.
The Workplace section is not one to be missed if you’re fascinated with how design affects productivity, creativity, and the experience of the workplace itself. Design in the workplace is growing globally so you’ll see innovative advances in desks, seating, acoustic panels, storage systems, lighting, and flooring from brands like Alki and Okamura. Swedish designers Lintex will be showcasing their writable surfaces for the first time to a UK market. The Arper Bloggers Lounge will also return for the second year to host informal discussions regarding workplace design.
Interiors will cover everything from furniture and lighting to fabrics and accessories from brands all over the world. You’ll see mid-century modern and art-deco inspired designs from brands like Mambo Unlimited, Due, and Mullan Lighting, as well as new collections in upholstery, furniture and lighting by Bow and Arrow, Andy Thornton Ltd, and Wooklikes. It’s no surprise that Pad Home, Designheure, Jetclass, and Turnstyle Designs will also be there – they’ve exhibited at every 100% Design since its inception!
Expect to see new advances in the realm of Kitchens and Bathrooms, a space that’s growing due to the demand of the hospitality and interior design trades. Eco-friendly and materials that demonstrate harmony with nature is a trending theme, so you’ll see Esthec Terrace’s sustainable terrace system at the show. You’ll also find new collections in ceramics and tiles from brands like Apicer and Concrete LCDA.
Design & Build is the largest of the five sections and will feature a materials showcase, surface innovations, technology and home automation. Exhibitors include Grestec Tiles, Sky-Frame, Domus Faces, and Ermetika srl, with Timbertherm exhibiting for the first time with its wooden floor heating.
Excited? We definitely are! Be sure to register so you can experience it all. Register here.
For more information, visit 100percentdesign.co.uk. See you there!
- Architects: Morales Vicaria Arquitectura
- Location: Medellin, Antioquia, Colombia
- Author Architect: Luis Morales Vicaria
- Area: 3375.0 m2
- Project Year: 2016
- Photographs: Julian Restrepo
- Collaborating Architects: Carlos H. Restrepo, Juan Esteban Giraldo
- Client: Gastronomic Markets
From the architect. Mercado Del Rio is located in the place where there used to be an old cellar of 2,071 m2. Between the Autopista del Río and the avenue Los Industriales, in front of the Bancolombia Building. With the two fronts of these buildings is formed the new terminal park.© Julian Restrepo
The triangular shape of the old cellar is due to the fact that the railroad lines used to transport coal from the municipality of Amagá passed tangentially to it, and at this point, they crossed the Medellín river towards the western side.Before First Level Plan © Julian Restrepo
Recycling is built taking into account its historical origin of the railways and takes as an architectural reference the old train stations.© Julian Restrepo
The facades of enclosure of the building are made of exposed brick, these are recycled and added to a new solid brick to create the access arches and tower that form the corner and the highest and most outstanding genres of the Clock) , which is complemented with perforated iron metal sheets and rust-type die, along with the exposed metal structure that reinforce the industrial air of Antigua desired train station.© Julian Restrepo
For the new use is taken as an example the renewal of European markets that have been transformed into gastronomic centers, where the environment that is generated is a site for the collector, the tomato is a good wine and spends leisure time in a way Informal and uncomplicated, with a wide variety and gastronomic options.© Julian Restrepo
In the first level is implemented a geometry in the central places based on diagonals, triangles, and diamonds that gives the place a visual dynamism that avoids the possible monotony that could occur in a single space.Section A
In this first level are the smaller premises as traditional stalls of the markets, where they sell varied food such as ceviches, Spanish tapas, crepes, mixed rice, gourmet burgers, paellas, hams, cheeses, desserts, and so on; Along with the Enoteca, brewery, and coffee.© Julian Restrepo
In the common spaces along the route and between the places there are bar tables to share among all the premises, allowing spontaneous groups of family and friends to participate in any place regardless of where they bought their food or drinks.Second Level Plan
This series of small food distribution places the form that genres a circuit in order to invite customers to tour each of the small spaces and enjoying an experience of meals, snacks and liqueurs; Two large staircases that open in the clock tower invite you to access the second floor where some larger restaurants with their own tables are located and are destined to an area of rest puffs to enjoy an unprepared and spontaneous way of a good rest.© Julian Restrepo
Posted by Mostafa Shahbazian & Partners
This Shopping Center Located In Mazandaran In Front Of The Sea. It Is The First Phase Of The Great Project.
After years of movie magic made hologram tables the objects of our futuristic affections, the technology to create our own Star Wars- or Minority Report-esque setup is finally here.
Australian company Euclideon has developed the world’s first multi-user hologram table, which allows four people to interact simultaneously with images projected onto the table surface. And unlike other AR technology currently available, the system operates without those clunky headsets that take you out of the immersive, real-world experience; instead, the company has produced sleek, motion-tracking glasses than look like a cousin of your favorite sunnies.
It’s the glasses themselves that produce the hologram images – frequency separation crystal films in the lens and on the table surface filter jumbled light into a stereo image, similarly to how your standard 3D glasses work. But what makes the image realistic is the computer inside the table – the table communicates with microchips located within the glasses to give a precise location of the glasses and what they are viewing, allowing the exact projection of light to be calculated and emitted.Courtesy of Euclideon Holographics
A single 1.5 meter by 1.5 meter prototype table has been produced so far, but interest in the project has generated enough funding that Euclideon believes a production version may be available for public purchase as early as February 2018. Euclideon CEO Bruce Dell has estimated the initial price to fall around $47,000, with larger models, including one big enough to stand on, in the works.
SketchUp developer Trimble has launched SketchUp Viewer, a new virtual and mixed reality app for the Microsoft HoloLens that will allow users to inhabit and experience their 3D designs in a completely new way.
Italian designers Giulia Pesce and Ruggero Bastita delved into the world of cohabitation for homeless people and refugees who tend to share spaces with others, therefore, not having a space of their own. That research led to their final industrial design project, called Patchwork, at Designskolen Kolding.
With a rise in homelessness and immigration, shelters have to house multiple people in large, open spaces. That means little to no privacy for those staying there. Patchwork aims to improve the quality of their lives by offering a flexible personal space they can customize as they wish. The design allows for various functions, like sleeping, working, storing clothes and belongings, etc., with amenities like hooks, a mirror, and a shelf, that can all be adjusted to their needs and liking.
Patchwork was developed in collaboration with the Danish design studio Hans Thyge & Co, where the duo now work as designers, and the Department of Architecture and Design of Politecnico di Torino as advisors for the research.