From Futura Standard to Helvetica Neue, designer Aleksi Hautamaki refits vintage neon letters, previously destined for the bin, with a touch of LED lighting to resuscitate their glow for another 10 years.
Character, his company, sells each piece to the public, intending to cultivate a “second life cycle” capable of creating “new value for everybody involved.”
Likewise, portrayed here in a series of artful photographs, each previously abandoned bit of font now haunts the city, with a fresh sense of freedom, searching for a new artful context, home, or environment outside its previous life in advertising.
Ana Kraš, born in Belgrade and based in NYC, uses basic structures and everyday materials to design “what people would need and like to use.” Her bonbon lamps or lanterns are handmade and no two are exactly alike. Kraš laboriously loops each bit of thread around the metal frames, creating a color-blocked pattern with a folk sensibility reminiscent of the 1970s.
In a recent feature by Avant Garde Interviews, Kraš suggests such careful repetitious attention is meditative, allowing her room to focus on the details or a “shy little gesture you try to add to a very basic thing.”
A Million Times by the Stockholm based studio Humans Since 1982 beautifully mixes the analog and the digital. The piece begins with the simple analog clock as its starting point. 288 clocks are arranged on the wall, their hands spinning to run through hypnotic patterns and display the time digitally. Each of the 288 clocks’ two hands run independently, powered by 576 individual motors. The entire installation is connected to custom made software and operated from an iPad. Watch the dials spin in the video after the jump.
This curious little structure is one of ten Free Little Library “branches”. Ten designer were chosen for the Free Little Library project – each designing and constructing a little library to place in Manhattan. This is the design created by the firm known as Stereotank. In the New York neighborhood of Nolita, the little library offers books and a bit of shelter to anyone passing by. Small portholes allow visitors to peek inside for a preview before being drawn inside. You can find Stereotank’s Free Little Library at St. Patrick’s Old Cathedral School in Nolita through September of this year. [via]
The team behind Atelier Ted Noten blend design and art so well, it can be difficult to unravel. They explore issues usually relegated to art such as violence, beauty, private and public life through design. Ice picks and cocaine are sunk into acrylic and transformed into designer bags. Perfume sprays down the barrel of a gun, its silencer concealing nail polish. The atelier’s design seems to at once celebrate and chastise high fashion’s excesses. Its bold design sensibility and irresistible ambiguity make their pieces difficult to turn aside from.
One of the most talked about trends in the creative community is 3D printing and its potential. A collaboration between the Institute for Advanced Architecture of Catalonia and Joris Laarman Studio created a machine that is perhaps more appropriately considered a 3D drawing tool called Mataerial. The machine extrudes a thermosetting polymer: a material that, due to a chemical reaction, comes out of the nozzle virtually dry and set. This means that Mataerial is able to construct designs without the need of a level base. The tools creations can even be extruded of a vertical surface, directly off the wall. [via]
Doug Johnston’s imagination knows no boundaries. His list of interests and mediums includes architecture, photography, installation, performance, music, and fiber art– which primarily involves stitching nylon thread around coiled rope to create functionally simple, yet playful forms.
His collection of weaving, shown here for example, includes a “wearable hut” for those looking for a unconventional dose of “anonymity and privacy” and deliciously modern “light sculptures” which structurally investigate varying unconventional shapes.
Artist and designer Fabrice Le Nezet‘s series Measure precariously positions concrete blocks. Using metal tubing, Le Nezet supports the concrete in way that makes the industrial materials seem nearly organic. The brightly colored pipes cling to the concrete like webs. His intention with the work was to make the materials and its weight easily felt. He says:
“I worked here on a physical representation of the idea of measure. The objective was to ‘materialize’ tension in a sense, to make the notions of weight, distance and angle palpable…This work lies in the context of my search for purification around raw materials such as concrete and metal. This is why I played with simple shapes which catch light and transcend the volume structure.”