Congratulations to Nervous System, whose Kinematics Dress was just acquired by the Museum of Modern Art (a prescient, pre-emptive move that might keep the curators of the Metropolitan Museum's Costume Institute awake for nights to come). While the physical product is certainly a head-turner, it's the underlying technology that's the true wonder—and maybe of greater interest and implication to architects. In order to fit into a 3D printer, the nascent dress design had to be reduced in size. Factoring in idealized, actual, and intuitive aspects of material and performance, a computational folding program optimally shrunk the garment by 85 percent by folding it in half only twice. Comprising 2,279 unique triangular panels linked by 3,316 hinges, the nylon dress was printed as a single piece over the course of 48 hours at the Shapeways facility in New York City. It looks fabulous, but how does it feel? Nervous Systems' creative director, Jessica Rosenkranz, answers, "I would not compare the dress to any other fabrics. It's really quite different. Perhaps I would describe it as a kind of mechanical lace. While each part is rigid and has a textured feel, together they flow and fold. Fabrics often make a rustling sound, but our garment sounds more like thousands of tiny plastic wind chimes." A video documenting the fabrication of the dress was filmed at Shapeways.
Posts tagged with "Fashion":
Sneaker and/or design aficionados take note: Nike released a new high-top model, called 'Dazzle,' on December 13, with snowboarding footwear to follow. While the shoes will definitely stand out in a crowd, that was not the original purpose of the Dazzle graphic. Developed by designers to foil World War I naval surveillance systems, the patterns were meant to confuse, not camouflage. Wikipedia explains the Dazzle camouflage concept:
Dazzle camouflage, also known as razzle dazzle or dazzle painting, was a family of ship camouflage used extensively in World War I and to a lesser extent in World War II and afterwards. Credited to artist Norman Wilkinson, though with a prior claim by the zoologist John Graham Kerr, it consisted of complex patterns of geometric shapes in contrasting colours, interrupting and intersecting each other. Unlike some other forms of camouflage, dazzle works not by offering concealment but by making it difficult to estimate a target's range, speed and heading. Norman Wilkinson explained in 1919 that dazzle was intended more to mislead the enemy as to the correct position to take up than actually to miss his shot when firing.More recently, the high seas have been graced by a contemporary version of the high-contrast optics. In 2013, industrialist and art collector Dakis Joannou commissioned Jeff Koons to detail his 115-foot yacht, Guilty. Perhaps Nike's next collectible shoe will dazzle in color.
Placed within Tokyo’s Daikanayama district, architect Arthur Casas has designed a flagship store to appear completely as an opaque box. As fashion trends change, so does the store’s appearance. The exterior walls boast a bold graphic design that will surely be swapped out for the next season’s trends. Created to display Brazilian designer Alexandre Herchcovitch’s clothing designs, the box nods to the idea of pedestrian curiosity and does not reveal its entire contents even when opened. The multi-level box has been described as “a wrapped up present just waiting to be opened.” Completed in 2007, the approximately 1,076 square-foot store’s facade embraces flashy prints and daring designs, but features surprisingly neutral interior materials in order to emphasize the details found in Herchcovitch's designs. The store contains an exhibition space in addition to storage space at the mezzanine level and a basement.
On View> “3 in 1: Contemporary Explorations in Architecture & Design” at the Art Institute of Chicago
3 in 1: Contemporary Explorations in Architecture & Design The Art Institute of Chicago 111 South Michigan Avenue, Chicago, IL Through January 5, 2014 3 in 1 Contemporary Explorations in Architecture and Design is broken down into three small separate exhibitions each revealing different categories: architecture, product design, and fashion. In Reality Lab, the Japanese designer Issey Miyake, head of Reality Lab Studio, reveals a spectrum of diverse and innovative products resulting from his experiments with material, structure, and form. The exhibition includes Miyake’s two products lines: 132 5 and IN EI, which are based on origami-folding techniques that create two-dimensional geometric patterns and unfold into remarkable voluminous forms. Los Angeles architect Greg Lynn’s Stranded Sears Tower explores how computer programming can act as a mode of creative expression. Lynn re-envisions and reconstitutes Chicago’s Sears Tower in order to develop a new kind of flexible and fluid type of architecture. Lastly, the Dutch designers Scholten & Bailings combine craft and industrial practices in order to re-invent everyday objects. Through the use of different colors, forms, and materials, their Colour reveals the numerous amounts of projects that the designers have accumulated over the past 13 years.
Zaha Hadid Architects designed 16 bespoke polyurethane display units for fashion designer Neil Barrett's shops.Fashion designer Neil Barrett hired Zaha Hadid Architects to design a cohesive display concept for a new flagship store in Tokyo that could be easily rolled out to his other locations as well, which include four shops in Seoul and one in Hong Kong. The result had to be as sartorial as Barrett’s fashions, so Hadid’s team came up with the idea of cutting the displays for all of the stores from a single block of material. The concept resulted in 16 bespoke display elements, which all fit together like pieces of a puzzle. "We wanted to design a project that always belongs together but offers a choice between different sizes," said project architect Claudia Wulf. "The reason we designed a modular landscape is that we have extremely different area requirements [across all of the shops]." The units, which are carved from a solid unit, range in size from 13 1/2 feet by 13 3/4 feet to 4 feet by 6 feet. Paired, the units create a sinuous artificial landscape that unfolds across multiple display levels. The pieces can be grouped to suit the scale and space of each boutique, and display shoes, bags, or accessories just as easily. Hadid’s team worked with Rhino to develop the idea of creating tangents through straight lines and curves, as well as soft lines and strong edges. What begins as a sharp point curves softly into the next display shelf. The team bounced the evolving design between the client and Chinese fabricator Evergrow, refining the profiles of each unit. For the flagship store in Japan, the designers chose to craft the first set from Corian in order to develop a strong dialogue between the existing envelope of the building and the display’s smooth yet curvaceous surface. A uniform, white palette enhances the formality of the display, while creating a strong contrast against a polished black floor. For subsequent locations, Hadid’s team updated the display material to polyurethane, as there was less time afforded for transportation and installation. The 3D file was sent to Evergrow, which CNC-milled the pieces from solid polyurethane. The fabricator applied a very thin coat of glass fiber resin to reinforce the surface and sanded it until smooth. A high-quality lacquer, comparable to what would be used for an automotive finish, was applied to protect against daily wear and scratching. "We definitely challenged the material use [with this project] because the edges are very slim," said Wulf, adding that during a recent project follow up, she was surprised by the number of people inquiring how such sharp edges were achieved on such a smooth form. "As often as we have the opportunity, we push the boundaries of materials a little farther so that you are surprised." Zaha Hadid Architects is currently developing Neil Barrett Shop in Shop projects in Beijing, Shanghai, and Seoul. As many as eight shops could be completed by the end of 2013.
We’ve always known that Rem Koolhaas has a special relationship with textiles and those who make them. But watch out Petra Blaisse, someone else may be hoping to knit his way into Rem’s heart. According to the blog Knitting Daily, artist Jared Flood has created the wool “Koolhaas Hat,” a toboggan whose diamond-shaped pattern is inspired by the facade of OMA’s Seattle Public Library. We hope Flood will send a sample directly to Rotterdam. Watching a recent video of Rem accepting the annual Charles Jencks Award at RIBA in London, the formidable noggin looked particularly windswept.
High-design fashion label Coach has been pursuing big-name architects, recently announcing its corporate headquarters will be the anchor tenant for a new Kohn Pederson Fox tower at Hudson Yards with James Corner Field Operations and Diller Scofidio + Renfro's High Line running underneath. Next up, Rem Koolhaas' OMA will design the brand's new flagship shop-in-shop at Macy's in Herald Square. WWD reported today that Koolhaas will bring a clean, modern aesthetic to glass and acrylic modular display units slated for 1,930 square feet of the Macy's ground floor and expected to open in September. OMA partner Shohei Shigematsu told WWD the modules were flexible in how they could be used, "In typical instances they are used as display; in others they come together as an interior fixture. In others still, they enclose spaces for programs or curation, and by sealing that enclosure, it can even become the facade." OMA will also be designing the Coach Omotesando flagship in Tokyo. The firm has also designed high-end retail space for Prada in New York and Beverly Hills.
For her graduation project at Dutch art and design school ArtEZ, Renee Verhoeven explored the relationship between function and materialization with Concealed Layers of Product Life. Anatomy, movement, and utility are translated through fabrication in a collection of gloves that attempt to tackle one of the fundamental projects of Modern design and architecture. As Verhoeven explained in a statement, “It was an idea I nurtured for a long time: making the outer layers of a product expressive for its interior, the way it functions and the scientific knowledge that it materializes.” “Products generally are constructed in layers," wrote Verhoeven, "each having its own function. These functions are quite often made invisible by techniques that are applied on a microscopic scale. As a result the products skin, its outer layer, is unable to express what going on inside.” Verhoeven was inspired by the writings of British tech-pioneer Kevin Ashton, as well as her participation in a design contest lead by a group of leather tanners in Tuscany, which together led to gloves and the anatomy of human skin as the center for her exploration. View more of her product design work at reneeverhoeven.nl. [H/T Mocoloco.]
This Saturday, LA’s A+D Museum will host its annual fundraising banquet, Celebrate. This year's event will not only include music from KCRW DJ Raul Campos (himself a trained urban planner) and some impressive celebs (including our favorite architecture fan Moby), but it will feature a runway show with custom clothing and accessories by architects and designers like Richard Meier, Neil Denari, Predock Frane, BMW Designworks, Karim Rashid, Robert A.M. Stern and many others. The runway show and live auction will be hosted by LA humorist Charles Phoenix and by Frances Anderton, host of KCRW’s DnA. Click on a thumbnail to see the slideshow of the uber fashions.
Times are tough for architecture, but is it time for starchitects to begin taking on other jobs on the side? John Hill over at A Daily Dose of Architecture spotted architect Charles Renfro's newest gig—J. Crew model—which is helping Renfro to become a household name. Appearing in a two-page ad running in the latest issue of Fast Company, Renfro is sporting a trim, tailored outfit of fine Italian fabrics, otherwise known as the Ludlow Suit, and some dazzling multi-colored socks. "This is what they mean by style with substance," says the copy. (Oh, that's what they mean...) Who should J. Crew pick for its next architecture model?
For the last several years, SCI-Arc's Studio 1A has given new students the chance to literally make their mark by producing projects that become permanent fixtures at the school. On Friday, this year's class revealed a project that started as a piece of clothing, then became a wire model, then became a mockup, and finally ended as a new undulating and faceted canopy and wall. Made of a recycled carbon fiber called Nyloboard, the project's more than 2,000 pieces were all hand cut and, somehow, none are exactly alike. They're attached with Gorilla Glue, nails, and screws. "It's something that exists at the scale of the world, which can take years for an architect," said Nathan Bishop, who along with Jackilin Hah Bloom and Jenny Wu led the studio.
We knew Rem Koolhaas had a crush on Miuccia Prada, but now Frank Gehry and her have teamed up, and it's not for a new "epicenter." As The New Yorker details in a Talk piece this week, the Santa Monica architect was asked by his artist friend Francesco Vezzoli to design a hat for none other than walking art piece Lady Gaga, and the hat, along with her dress, were made by Prada for a benefit at LA's Museum of Contemporary Art last month. As Dana Goodyear describes it, "Gaga wore the Gehry hat all folded in on itself, a millinery version of Walt Disney Hall." But this being The New Yorker, there were no pictures, only a drawing, so we had to see the hat for ourselves, which, thanks to Gaga Daily, we found it. But the real treat is hearing Gehry describe his pièce de résistance:
Gehry said that he had done the initial drawing on his iPhone, which an assistant then produced: a violet scribble with a black-and-blue iris at the center. “Since I’ve never designed a hat before, I was afraid she wouldn’t be able to walk,” he said. “I did have an idea that involved people with sticks holding it up, walking behind her. I didn’t know how far I could go with this thing.”Starchitecture indeed.