Monday, 30 April 2018

NYC’s Classic Car Club Gets a New Home at Pier 76

NYC’s Classic Car Club Gets a New Home at Pier 76

Whether you want to have access to a fleet of classic cars or you just want to hang and be near them, the Classic Car Club offers that and then some. Founded in London in 1995, the club landed in Manhattan’s Soho neighborhood in 2005 upon arrival in the States before recently needing a new place to call home. CCC enlisted one of their very own members, architect Marc Thorpe of Marc Thorpe Design, to design the new club, which now takes up residence at Pier 76 by the Hudson River.

The CCC offers classic auto-loving New Yorkers the unique opportunity to drive their lot of cars on top of access to their new car-inspired club. While the 40,000-square-foot club gives nod to car culture, Thorpe does it in a subtle and intriguing way that makes the industrial space feel welcoming and sophisticated.

Inside you’ll find an 8,000-square-foot auto showroom and event space, a 5,000-square-foot private members lounge and bar, 3,000-square-foot outdoor terrace, 1,000-square-foot kitchen, 5,000-square-foot automotive workshop, and lastly, a 2,500-square-foot semi-public park.



from Design MilkDesign Milk https://design-milk.com/nycs-classic-car-club-gets-new-a-new-home-at-pier-76/

What We’re Looking Forward to at Clerkenwell Design Week

What We’re Looking Forward to at Clerkenwell Design Week

Bigger, better and with more design than ever, the ninth edition of Clerkenwell Design Week opens its doors from May 22-24, 2018. London’s leading design district will be buzzing with hundreds of design-led fringe events, showroom presentations, workshops, talks and installations over the three days of the festival.

Clerkenwell Design Week is free to attend, you just need to register here.

Here’s what we’re looking forward to…

Did you know that the ecological footprint of a cotton tote bag is 327x worse than a plastic bag? If you have any totes that are going unused, give them a second life at the Print Club London #YourToteCounts installation where you can customize your totes designed by students of the Chelsea College of Art, with proceeds from an optional donation going towards Maggie’s, the official CDW charity partner.

Modern design pays homage to olden times. The Royal Approval installation created by Kinetech Design in collaboration with Amari Interiors, Applelec and Timberfusion will be held at the Arch of St. John, the historic site of some of Shakespeare’s most famous works, including Romeo and Juliet, Hamlet and Macbeth. Kinetech Design’s kiri-origami sculptures are inspired by history and architecture of the arch.

At St James’ Courtyard, Scale Rule will be constructing a pavilion designed by GCSE students from London. The theme for the pavilion is sustainability and the pavilion’s multilayered design is a metaphor for past, present and future.

There are seven main exhibition spaces at Clerkenwell Design Week: Design Fields for international contemporary design, Platform for emerging designers, Project for contract design, Elements for architectural accessories, British Collection for UK designers, Detail for luxury interiors and Light for international lighting.

Design Fields \\\ Edsbyn

Platform \\\ The Devoy Group – QLOCKTWO

Project \\\ Cube Space

Elements \\\ House of Eroju

British Collection \\\ James Burleigh

Details \\\ Cane

Light \\\ Greypants

Learn more about Clerkenwell Design Week and register to attend (for free!) here.



from Design MilkDesign Milk https://design-milk.com/looking-forward-clerkenwell-design-week/

The UFO Lift Elevates Standing Desk Design

The UFO Lift Elevates Standing Desk Design

Designer Pavel Vetrov’s UFO Lift desk designed for Russian home decor brand Zegen is a refreshingly contemporary reinterpretation of the standing desk subtracted of many of the more unsightly elements associated with working from a computer while standing up. Complete with a work surface designed to lift or return to a seated position at the touch of a button, its modern design is partnered with an integrated vertical storage and display system that gives users an easy sight line to their sidekick mobile device screens.

The UFO Lift’s metal frame with wood top design is partnered with a two-button lift motor inviting users to switch between sitting and standing with ease. A stretch of multi-functional metal stands positioned at the back of the desk surface is designed to hold phones, tablets, or books upright, open, and at arm’s length while working.

The limitations of a single drawer underneath won’t allow for an excess of clutter (at least in theory), while a cord management system keeps the wires and cables typically associated with the use of computers, laptops, and other mobile charging systems out of sight.

If the UFO Lift doesn’t look quite like other standing desks, that’s because Vetrov’s design was altered from a non-mechanized standard UFO desk for those who do not need the standing desk feature but still want the desk’s integrated display and storage feature.

Vetrov also designed the Ply, a slightly less substantial desk design for Temahome, featuring a shallower depth surface area, thinner weight metal legs, lighter wood veneer finish, but sporting a similar back-end stand and surface display system to its unidentified floating object sibling. We’ll gladly work behind any of these three desks Vetrov designed!



from Design MilkDesign Milk https://design-milk.com/ufo-lift-desk-standing-desk/

Milan Design Week 2018: Mutant Matter

Milan Design Week 2018: Mutant Matter

British futures agency FranklinTill and experimental Dutch design collective Dutch Invertuals teamed up to create Mutant Matter, an exhibition exploring the future material potential of waste streams – driven by the understanding that we have entered the era of the ‘Antropocene’ when human-made materials and processes have become irreversibly intertwined with those from the natural world. “Geologically speaking, the fruits of the Anthropocene are yet to be witnessed,” says Caroline Till. “However, the acceleration of human industry has already made permanent changes to the planet, to the point that artificial geological phenomena are being documented worldwide. As a result, designers are beginning to consider not only the complications caused by these vast ecological changes but also the potential.”

Ten designers presented concepts that ranged from new materials and re-evaluations of old ones to experiments with recycled objects and repurposed waste streams and entirely new ways of making and thinking about design. “Radical Matter inspires us to observe the drastic evolution of materials,” said Dutch Invertuals founder Wendy Plomp ahead of the collective’s 18th appearance at Milan Design Week. “For Milan, we offer our joint vision on a small chapter of this broad and socially involved topic. By envisaging and questioning material innovation we hope to make a real difference on a deeper level.”

Design Academy Eindhoven graduate Thomas Ballouhey presented the Dispenser Light, which combines new material technologies with primitive making techniques and a static ‘on-grid’ unit with agile solar-powered parts. “In creating the extruded aluminum frame, I have deliberately moved away from any formal method of construction,” says the designer.

Onno Adriaanse is based in Eindhoven and founded his eponymous studio in 2016 after graduating from the Design Academy Eindhoven. His Antithesis Table challenges perceptions of ‘soft’ and ‘fragile’ materials in order to broaden our understanding of their application.

“I am interested in matter that will not be able to exist in the future,” says Théophile Blandet. “Plastic has been celebrated as the miracle material for modern manufacturing, however, due to its environmental impact, I believe we will shortly ban its production.” P.S. is Théophile’s attempt to reposition plastic as ivory, gathering and celebrating it even in its waste form.

Multidisciplinary designer Fransje Gimbrère created Thrum for the exhibition. ‘Thrums’ are warp threads left over on the loom after weaving is complete, and Fransje has taken inspiration from these to change the way matter is perceived. “I create work that people want to touch, experience or interact with,” she says. Her woven architectural sculptures “engineer contrast between the rigid woven grid and the soft flowy fringes… exploring and expanding our definitions of material properties.”

Future Remnants by Xandra Van Der Eijk explores the impact of human influence on the changing development of mineral formation. “I have created a series of material experiments combining commonly used metals with widely available household solutions, observing the transformation of matter and creation of new minerals through decay,” says the designer. “The project aims to convey that the surge in mineral diversity over the past fifty years can be attributed to human activity.”

Fleur Hulleman’s Touchables invite tactile discovery as an antidote to our increasingly screen-based lives. “My aim is to create sensorial discovery, to achieve the power of color, material and texture, and to satisfy our inherent desire for tactility,” she says. This collection of material forms encompasses visual and textural contrast to create a more sensual relationship with the objects around us.

ZwartFrame is an Utrecht based collective of five artists and designers, who created Conflict – a new production process that enables material to form itself. “We want to investigate how designers can exploit the inherent material behavior to engineer new mutant matter, demonstrating the extremities of material properties for the creation of new artifacts,” they say.

Shahar Livne’s Metamorphism: Yulem is an ‘alter’ made from clay combined with Lithoplast, a new composite material developed by the designer from discarded plastic, stone waste from coal mining and marble dust from masonry. “These alters are the physical juxtaposition of old and new: new and mutated matter,” she says.



from Design MilkDesign Milk https://design-milk.com/milan-design-week-2018-mutant-matter/