James Turrell’s Colorado installation is a portal to the sky

Cloud House, a new residence in Bondi designed by Akin Atelier, serves as a serene sanctuary for a couple who divide their time between Singapore and Sydney. The design prioritizes careful consideration of apertures and subtle textures to foster a sense of expansive space and lightness within the home. The clients sought a house that would offer relaxation, facilitate enjoyment of the outdoors and sunlight, and eventually serve as a family home. A key design challenge was the clients' desire for the living space at the rear, which was the south-facing end of the site. Kelvin Ho, founding director of Akin Atelier, emphasized the meticulous attention given to junctions and openings, which he described as an opportunity to test their understanding of light and space. The design effectively uses various apertures and angles to fracture light into the building's core, ensuring ample sunlight despite the south-facing living area. A central courtyard, a double-height glazed wall, a raked ceiling, and strategically placed skylights are integral to illuminating the interior. These elements, combined with materials chosen for their interaction with light, create a calming and comfortable environment. The house's architectural composition features simple white geometric forms encircling a central courtyard. This courtyard not only ushers northern light into the living area but also functions as the main entry point, accessed via an external, bamboo-lined walkway. Glazing frames the courtyard, with an outdoor shower discreetly positioned among plants adjacent to the fence. The living, kitchen, and dining area, located behind the courtyard, appears simple but is a highly refined arrangement of materials and forms. A striking 6.1-meter glazed wall bathes the living space in sunlight, highlighting the textures and shadows of the adjoining white brick wall. A raked ceiling and gentle curves subtly guide movement and light deeper into the kitchen and dining areas. Functional elements are seamlessly integrated, such as a concrete step transitioning into a fireplace plinth, and shelving and cupboards evolving into kitchen cabinetry and a benchtop, all beneath a still-generous three-meter ceiling that defines a more intimate atmosphere. Minimalist glass doors connect the living space to a narrow side garden and a rear deck, stacking externally to maximize the indoor-outdoor connection. Project architect Georgia McGowan conducted extensive research to select glazing systems that balanced light maximization, indoor-outdoor flow, and cost-effectiveness. Slim-profile windows were chosen for critical openings, while standard profiles were used for side elevations. A flush floor finish and a fine-edged steel track further enhance the sense of uninterrupted space, with a slender circular column providing discreet structural support. This attention to detail extends throughout the house. Glass doors in the adaptable front room (serving as a guest bedroom, study, or family room) also retract into a wall. A distinctive round window in the bathroom pivots horizontally, contrasting with the facade's rectilinear lines. A skylight spanning the length of the staircase offers views of the sky, and slim-profile windows upstairs open to the courtyard. The second floor accommodates two bedrooms and a bathroom at the front, with the main bedroom and ensuite at the back. A passageway creates a natural division, allowing for the creation of private zones. The clients' bedroom, bathroom, and walk-in robe are arranged for spatial fluidity, with timber wardrobes divided by a vanity and a skylight illuminating the shower. Timber screens and neighboring bamboo create a secluded, sanctuary-like ambiance in the main bedroom, which also benefits from plants cascading from the roof. Operable rosewood timber screens, designed to weather and grey over time, contribute natural color and texture to the exterior while providing privacy. Elevated skylights create dynamic light and shadow effects. Ultimately, Cloud House exemplifies a design where seemingly disappearing windows, doors, and screens create a continuous and effortless sense of space, embodying Kelvin Ho's philosophy that "You don’t notice when you walk into a space, but you feel it." #ResidentialArchitecture #AkinAtelier #BondiBeach #NaturalLightDesign #IndoorOutdoorLiving #ModernHomeDesign #ArchitecturalApertures #Materiality #ContemporaryAustralianArchitecture

Architect Julian King undertook a significant renovation of his 1923 Dutch Colonial home outside New York City, a project that was uniquely challenged by Hurricane Sandy. The storm caused two 85-foot pine trees to fall onto the house mid-renovation, a setback that occurred while framing was underway. Despite this, King, who was personally executing the renovation, maintained his vision for a new, spacious, and light-filled bedroom addition on the second floor. The addition, constructed above the attached garage, was designed as a sculptural mass that integrates with the surrounding natural environment. Its exterior features white stucco, which deliberately contrasts with the reclaimed barn wood cladding of the original house, highlighting the interplay between the historic and modern elements of the structure. King meticulously planned the addition's undulating form by studying the sun's path and considering the surrounding trees and views. This approximately 300-square-foot second-floor space houses a bedroom with a bed strategically positioned under a skylight, a window seat nestled within a three-sided window, a lengthy closet, and a bookshelf with hardware embedded into the original brick chimney. Interior design elements are minimalist, featuring trimless recessed downlights, clear glass shelving, and poured concrete over an electric radiant floor. The exposed red brick of the chimney serves as a subtle color accent, with the primary visual appeal coming from the natural blues of the sky and greens of the trees framed by the skylights and windows. A standout feature is the three-sided skylight above the window seat, designed to create an immersive experience with nature, appearing to dissolve into the air. This particular detail presented significant challenges in both its design and execution due to its unique configuration and the climate, described by King as a 'first of its kind.' The construction of the sculptural skylight involved several complex steps. A more than 900-pound skylight required craning into place, with King personally guiding the crane operator. A strip skylight between the old house and the addition necessitated an intricate arrangement of multiple headers to conceal the skylight frame within the wall and wood siding, enhancing the feeling of being outdoors. The corner window's detailing included a custom steel frame hidden behind the finishes, utilizing glazing tape and a powder-coated thin steel plate frame to achieve a flush appearance with the stucco. The window itself is made of half-inch tempered low iron glass, siliconed together on all three sides, with a thermostat-controlled heat tracing cable used in commercial curtain walls to prevent condensation. Glass shelves in front of the existing chimney are supported by concealed mechanisms behind the sheetrock and inconspicuous steel pins anchored into the brick. King personally undertook nearly all the work on the house, including the extensive gut renovation that involved replacing leaking cast iron plumbing, dangerous electrical wiring, inefficient windows, a leaking roof, cracked plaster, rotted sheathing, and failing floor joists. His hands-on involvement allowed for the execution of innovative details that local contractors might have found challenging. The renovation, described as "Herculean," ultimately achieved remarkable results, integrating advanced design with personal craftsmanship. #ArchitecturalRenovation #SkylightDesign #DutchColonial #ModernAddition #JulianKingArchitect #SustainableDesign #HomeTransformation #StructuralEngineering #ResidentialArchitecture

Netjets, a private jet airline, has maintained a 16-year partnership with Art Basel, consistently unveiling collaborative projects at the fair. This year's iteration featured a bespoke installation by Swedish artist Frida Fjellman within the Netjets collectors' lounge. Fjellman's contribution, titled 'Crystal Atmosphere,' brought a new spatial interpretation to her signature blown glass lanterns. These lanterns, first showcased in a solo exhibition in 2015, have since evolved into various colors and sizes, all retaining their distinctive mouth-blown glass and metal components. They are presented both as individual pieces and as elaborate chandelier-like clusters. Fjellman's artistic journey with these lanterns involved a two-year development period in collaboration with The Glass Factory, an art glass producer situated in Boda, a small village nestled within Sweden's forests. The artist initially conceived these lamps not for traditional beauty or utility, but to evoke the impression of exaggerated, somewhat unconventional jewelry—beautiful yet intriguing. The unexpected popularity of these pieces has been a point of interest for Fjellman. The lanterns gained significant attention when they were displayed at Design Miami/ in 2016 as part of a large-scale installation by Hostler Burrows. This exposure captured Netjets' interest, leading to the current collaboration. For the Art Basel lounge, Fjellman was granted complete creative freedom. Over a period of four months, she developed her largest installation of these works to date, comprising 100 lanterns in a spectrum of shades and sizes. This project also involved the creation of a new large-scale piece that pushed existing production boundaries. The installation within the lounge featured the lanterns suspended from the ceiling in color-coordinated clusters. The lighting of these pieces was designed to be discreet, with lights slowly fading in and out, mimicking a breathing pulse. Fjellman's stated intention for the 'Crystal Atmosphere' installation was to cultivate a serene environment, providing a calming respite from the often-hectic atmosphere of the art fair. 'Crystal Atmosphere' underscores Netjets' ongoing commitment to the arts. Previous artistic collaborations by the private aviation company include projects with the art/design duo Snarkitecture and British artist Rebecca Louise Law. Fjellman reflected on the inspiration behind her installation, noting her interest in the almost magical sense of tranquility experienced during flight above the clouds, likening it to a rare oasis of calm in an increasingly hyper-connected digital world. #ArtBasel #Netjets #FridaFjellman #InstallationArt #BlownGlass #DesignMiami #CrystalAtmosphere #ContemporaryArt #ArtCollaboration

The article reviews "Every Wall is a Door," Superblue Miami’s inaugural exhibition, which features large-scale, immersive artworks by teamLab, James Turrell, and Es Devlin. The exhibition builds upon the visionary ideas of new media pioneer Stan VanDerBeek, who in 1966 envisioned "intermedia experience machines" that would help people process the rapid changes brought by technological innovation. VanDerBeek believed in the importance of artistically cultivated experiences to foster a new, shared vocabulary, incorporating concepts from ecology and cybernetics alongside immersive and collective audience participation. teamLab, a Tokyo-based collective of over 400 "ultra-technologists," is presented as a modern-day realization of VanDerBeek's vision. Their interactive digital installations, such as _Flowers and People, Cannot be Controlled but Live Together - Transcending Boundaries, A Whole Year per Hour_ and _Universe of Water Particles, Transcending Boundaries_ (both 2017), are central to the exhibition. These works utilize darkened rooms, large-scale projections, and intricate visual effects to create immersive environments where visitor participation directly influences the artwork. Flower petals and water particles respond to movement, and luminous flora and swirling streams contribute to a sensuous, expansive illusion accompanied by a dreamy soundtrack. The collective's populist approach encourages audience engagement, ranging from taking selfies to observing the evolving scenery, effectively transforming the gallery into a technologically enhanced "black-box" where art is "democratized." In contrast to teamLab’s vibrant sensory overload, James Turrell’s _AKHU_ (2021) offers a more subdued, perceptual experience. This installation is an iteration of his "Ganzfeld" series, featuring a white chamber that uses high-chroma light to manipulate visual perception. The LED-halo color-cycling is so gradual that it creates an illusion of stillness and ambiguity in space and time. Viewers experience shifts in tonality that are products of their own minds, highlighting the role of perceptual agency in art. This piece emphasizes that the lack of conscious control over perception is not a flaw but a core element of the artwork itself. Es Devlin’s _Forest of Us_ (2021), a London-based stage designer's contribution, concludes the exhibition. Visitors first watch a video montage that draws parallels between fractal branching in nature, such as air movement in bronchial passages, and the interconnectedness of humanity with nature. Following this, they enter a recursive, curvilinear mirror-maze with winding corridors, stairwells, and bright white lights that create infinite reflections. The accompanying cinematic sci-fi synths and slow breathing sounds contribute to an ethereal atmosphere. While the thematic link between the video and the maze might become less apparent during the experience, Devlin’s meticulous execution and background in theatrical design are evident in the installation’s visual impact and spatial choreography. Superblue Miami aims to be a next-generation art space dedicated to large-scale, immersive art, seeking to challenge and transform visitors' understanding of themselves and their relationship with the world. The curated route of "Every Wall is a Door" guides guests through a diverse array of experiential poetics, balancing high-tech spectacle with analog immersion. The installations explore themes of illusion, reality, memory, forgetting, and human agency. The ultimate success of Superblue is presented as residing not just in the artworks themselves, but in their capacity to elevate the viewer's aesthetic sensitivity, leading them to recognize the immersive potential of art and everyday life beyond the confines of a traditional museum setting. Steven Pestana, a visual artist and writer, contributed this review, drawing on his background in digital media and art history. #ImmersiveArt #DigitalArt #NewMediaArt #ArtExhibition #InteractiveInstallation #StanVanDerBeek #teamLab #JamesTurrell #EsDevlin #SuperblueMiami

Japan-based WD, led by designer Yusuke Watanabe, has created an innovative wall shelf called 'Parachute.' This product, designed to universally hold various items, draws inspiration from both Coldplay's debut album 'Parachutes' and the protective function implied by the word itself, derived from the Italian 'parare' (to protect) and French 'chute' (to fall). Watanabe also looked to the mechanism of clothes-pegs securing objects on a clothesline for functional inspiration. The 'Parachute' shelf is skillfully crafted from vibrantly colored sheet-metal stripes, which mimic the wavy appearance of a parachute's cloth. When not in use, its minimalistic and eclectic design allows it to function as a piece of abstract art, sitting flush against the wall. Unlike traditional shelves that typically cantilever forward, 'Parachute' maintains a flat profile. The shelf incorporates multiple pegs or planks that can be tipped forward to create a functional surface or hooks. These elements are designed to gently 'clip' and hold objects against the wall, providing a secure storage solution. The versatility of the 'Parachute' shelf is a key feature, as it can be utilized for storing a variety of products. Its design also allows for hanging items such as coats, scarves, or hats, making it a multi-functional piece of home decor. The product aims to enrich living spaces through thoughtful design, connecting utility with aesthetic appeal while discovering new values and expressions in everyday objects. WD's approach emphasizes combining practical functionality with an artistic presence, ensuring that the shelf is both a useful storage item and an engaging visual element in any room. By integrating these influences, the 'Parachute' wall shelf offers a unique solution for home organization that transcends mere utility. Its design prompts a reconsideration of how wall storage can integrate into interior aesthetics, presenting a piece that is as much a decorative art installation as it is a practical furnishing. The choice of materials and colors contributes to its modern and artistic appeal, allowing it to seamlessly blend into contemporary home environments while providing an innovative method for tidying and displaying personal items. The shelf exemplifies how everyday objects can be reimagined to offer both functional and artistic value. #HomeDecor #InnovationDesign #InteriorDesign #LifestyleDesign #WallShelf #YusukeWatanabe #WDDesign #MinimalistDesign #FunctionalArt

This article details the transformation of a four-bedroom California bungalow on Sydney's Lower North Shore, owned by designer Jennie Cadman of Periwinkle Interiors. The renovation was undertaken to accommodate her growing family, which includes her husband and four children, aged between two and 12. Despite having completed a renovation on their previous home nearby, it proved insufficient for their needs, prompting the family to acquire this bungalow in 2018. The property was appealing due to its 'great bones,' featuring high ceilings, spacious bedrooms, a predominantly single-level layout, and a generous backyard. Previous owners had also effectively utilized the attic space, converting it into an additional bedroom and a family room. However, the bungalow presented challenges, particularly its dark and inefficient floor plan in the 1990s addition. This section included a bedroom and laundry overlooking the garden, a space Jennie felt was better suited for a living area. A significant issue was the lack of kitchen bench space, compelling Jennie to prepare meals on the stovetop. To address these functional shortcomings and improve the home's flow, the family engaged architect Adam Hampton of Hampton Architecture in 2019. Their primary goals were to design a new extension with a living area that maximized garden views, reconfigure the misplaced bedroom, and incorporate an ensuite for their eldest child, who needed a private bathroom. Today, the renovated home features an open-plan kitchen, dining, and living area that occupies almost the entire left side of the house. A distinct sitting room is situated between this open-plan space and the entry, while the main bedroom suite and family bathroom are located to the right of the entry. The children’s bedrooms now overlook the backyard, and the pitched roof of the upper level houses a study and a family room. The kitchen, designed as the central hub, connects seamlessly to the new living room and the backyard. A notable architectural feature of the extension is its pitched roofline, which mirrors the original front facade and achieves an impressive height of approximately 4 meters, enhanced by skylights, to create an expansive and airy feel. Innovative design choices include a 1.4x1.1-meter cool room in place of a traditional fridge, providing an efficient way to store groceries. Jennie also specifically requested that all storage be below bench height, accommodating her stature. In the dining area, French doors were added, opening onto a deck overlooking the front garden and pool, with a sheltered sitting area beneath. Windows in the children’s bedrooms were enlarged, and the attic family room gained a balcony to further integrate indoor and outdoor spaces. The main bedroom was reconfigured to enlarge both the ensuite and walk-in wardrobe. The interior design, largely overseen by Jennie, showcases a bold navy blue palette, particularly prominent in the sitting room through artworks and soft furnishings. This is contrasted with vibrant pops of red and orange, seen in a Knoll ‘Womb’ chair and a patchwork kilim in the dining area. Jennie intentionally created a contrast between formal and informal spaces, with the casual living room being bright and airy, and the sitting room designed to be darker and more intimate. Texture plays a crucial role, with materials such as a linen modular sofa, linen curtains, timber floors, tongue-and-groove joinery, a concrete plinth, and a marble coffee table in the family room. The main bathroom features smooth marble, while the kitchen employs dolomite for benchtops and splashbacks, complemented by walnut veneer and brass finishes. Jennie identifies the sitting room as her favorite space, appreciating its cozy and enveloping atmosphere. #CaliforniaBungalow #HomeRenovation #InteriorDesign #FamilyHome #ArchitecturalExtension #OpenPlanLiving #NavyInteriors #CathedralCeilings #KitchenDesign #OutdoorLiving

This article delves into the design and construction of a unique twisty, floating staircase for a ground-level maisonette in Greenpoint, Brooklyn. The unit, distinguished by its 14-foot high ceilings and a private terrace, is an anomaly in New York City apartments. INC Architecture & Design, renowned for projects like 1 Hotel Brooklyn Bridge and the TWA Hotel, was responsible for the entire creative scope of the property, acting as executive architect, design architect, and interior designer for all units, including this particular maisonette. The firm identified an opportunity in the ground-floor unit, which is categorized as a retail-level space due to its high ceilings, to incorporate an elegant staircase that complements the large, windowed patio doors. The design challenge involved creating a staircase that would allow maximum natural light penetration while navigating strict building codes. The team aimed for a less intrusive design for the stairs, railing, and treads to ensure the room remained bright. The staircase, roughly one and a half stories high, required precise coordination due to its complex geometry; the orientation at its base differs from its top. A key hurdle was the building code requiring a landing every nine feet of staircase rise. To address this, the design team implemented a creative solution by turning the staircase three times, thus incorporating three landings of consistent size for aesthetic purposes. This intricate design process was described as "the tightest puzzle you've ever seen." The staircase's structure features a four-by-six black steel tube as its stringer, the backbone supporting the treads. The railing comprises tempered glass and a black anodized aluminum C-channel that neatly covers the edge. Beyond the architectural elements, Jean Lin, cofounder Drew Stuart's partner and owner of Colony, a furniture design gallery, meticulously furnished the maisonette for its new tenant. The interior design process considered the staircase as a central focal point, influencing choices for lighting fixtures, art placement, and the utilization of negative space to enhance the overall experience of moving through the home. The article also outlines practical strategies employed during the project. Extensive pre-planning was crucial for the floating staircase, which relies on hidden anchors, especially in concrete buildings where embed plates must be coordinated well in advance. Budget constraints led to design revisions, including switching from a two-stringer design to a single stringer, which not only saved costs but also resulted in a lighter aesthetic. Creative problem-solving was essential for meeting building codes, such as making treads exceptionally thick to ensure the gap between floating stairs was smaller than a four-inch diameter sphere. The project utilized multiple vendors for different components like the staircase and flooring, necessitating careful coordination to match cosmetic details, such as ensuring the stair treads harmonized with the wood floor finish despite originating from various sources. #FloatingStaircase #ArchitecturalDesign #InteriorDesign #BuildingCodes #GreenpointBrooklyn #Maisonette #INCArchitecture #ResidentialDesign #SpaceOptimization

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

The Hunter Douglas Architectural (Europe) Combi-Line ceiling carrier system is designed to provide architects and designers with extensive flexibility in creating unique ceiling designs. This innovative system utilizes a single carrier rail equipped with various clips, allowing for the integration of diverse Hunter Douglas panel types, such as Metal 30 BD/BXD, Veneered wood grill 30WL60 linear panels, and HeartFelt® panels 30HL60. This versatility enables endless combinations, fostering ruptured lines, random patterns, open positions within the grid, and non-standard modulation in ceiling aesthetics. The ability to mix and match ceiling panels of different materials significantly enhances design freedom. The Combi-Line system was initially developed in 2015 to meet a specific design requirement for the Schiphol Airport Lounge in Amsterdam. The project necessitated a bespoke carrier system capable of installing ceiling panels in random configurations, including open spaces that would reveal the plenum above. Recognizing the broader potential of this specialized solution, Hunter Douglas Architectural's Research and Development department further refined the concept, leading to the creation of the Combi-Line as a standardized product. A key innovation in its development was the creation of a machine that precisely marks the carrier rail, indicating the exact placement for each panel, thereby streamlining the installation process and ensuring design accuracy. The system offers variable modulation, allowing for custom module sizes to suit specific project needs, as demonstrated by the 135.5mm module developed for the second phase of Schiphol Airport. This adaptability underscores Hunter Douglas Architectural's capacity to deliver tailored solutions for diverse architectural schemes, maximizing design flexibility. From an aesthetic standpoint, the Combi-Line system empowers architects to achieve complete design freedom. It facilitates not only random panel positioning but also provides a clean and organized appearance in areas where panels are deliberately omitted, enhancing the overall aesthetic appeal. Functionally, like all Hunter Douglas Architectural ceiling systems, the Combi-Line ensures easy accessibility to the plenum for maintenance purposes, with individual panels capable of being dismounted independently. The system incorporates specially designed clips for various panel types—HeartFelt®, veneered wood linear, and metal linear panels—which securely fit into the steel carrier rail at pre-determined positions. This engineering allows designers to combine multiple ceiling panel types to construct unique and visually striking patterns. The product comes with several supporting documents, including brochures and technical leaflets, detailing its specifications and capabilities. Hunter Douglas Architectural (Europe) actively supports its products with comprehensive information and customer contact options, reinforcing the system's viability for a wide range of interior applications seeking innovative and adaptable ceiling solutions. #CeilingSystems #ArchitecturalDesign #InteriorDesign #HunterDouglas #ModularCeilings #CommercialInteriors #CustomizableDesign #ConstructionMaterials #SchipholAirport

Eventscape, a Toronto-based custom fabrication company with over 20 years of experience, specializes in creating unique architectural features, particularly custom ceilings. The company has garnered multiple ARIDO and ARE awards for its dynamic projects and has collaborated with prominent architectural firms like Gensler and Diamond Schmitt, as well as renowned artists such as Jason Bruges and Jaakko Pernu. Steve Haniewicz, Eventscape's executive project director and first employee, emphasizes the company's capability to create without limitations regarding scale, form, material, or performance, globally. Custom ceiling work presents distinct challenges, primarily gravity. Eventscape designs a bespoke suspension system for each project, adapting to varying venue conditions, weight restrictions, and existing building systems like electrical and mechanical infrastructure. Despite these complexities, ceiling projects often highlight the firm's innovative capabilities. Two recent installations at the RBC Convention Center in Winnipeg and Saks Fifth Avenue's New York flagship store exemplify their expertise in crafting delicate yet bold geometric designs. For the RBC Convention Center in Winnipeg, Eventscape undertook a 30,000-square-foot custom design for the main conference room. Collaborating with LM and Number Ten Architects, and inspired by LMN Architects' ice crystal concept, Eventscape engineered, fabricated, and installed 324 identical steel modules. These modules form a sophisticated, tessellated monohedral pattern of snow-white "crystals" set against a matte black ceiling. The design is further enhanced by 81 custom-fabricated lights that provide vibrant color and brightness in the evenings, with the dynamism extending to street level through floor-to-ceiling windows. The Saks Fifth Avenue project, though smaller in scale, showcases equally graceful structural work. Eventscape was commissioned to engineer, build, and install a custom dome feature, 30 feet in diameter, designed to brighten the room and align with Saks' aesthetic and brand identity. This installation features concentric laser-cut aluminum arcs, inspired by spiral patterns cut from paper, creating the illusion that the structure is emerging from the finished ceiling. Concealed LED tape lights provide subtle illumination, complemented by delicate steel accent rings with a bronze-plated finish hanging below. Through such projects, Eventscape transforms functional architectural elements into captivating art, ensuring that their clients' ceilings become focal points that elicit admiration. #CustomFabrication #CeilingDesign #ArchitecturalFeatures #InteriorDesign #Eventscape #RBCConventionCenter #SaksFifthAvenue #ArchitecturalEngineering #DesignInnovation

The 'Unidentified Scented Object' (OSNI 1) installation, a collaboration between Cartier's perfumer-creator Mathilde Laurent and Munich climate engineers Transsolar, explores the concept of olfactory art. This project, which is not a commercial scent launch, is designed to be the first in a potential series, focusing on the artistic and experiential aspects of scent rather than product promotion. Laurent, whose studio is located in the Jean Nouvel-designed Fondation Cartier, has long envisioned creating a scent-driven artwork. The installation is housed within a habitable glass cube situated on The Pavillion at the Palais de Tokyo in Paris, close to the Seine. Inside, a winding staircase leads visitors through a floating artificial cloud. As one ascends above the fog, the air becomes clear but filled with perfume, offering a unique and personal sensory experience, as noted by Transsolar engineer Sabine Gröger. OSNI 1 aims to uphold olfactory art as a significant art form, aligning with Cartier's historical support for contemporary art, evidenced by the establishment of the Cartier Fondation in the 1970s. The scent infused into the cloud is L’Envol (The Flight), an existing Cartier fragrance for both men and women. The inspiration for using this particular fragrance came during its research, where Laurent and her team were captivated by the idea of elevation and the "smell of the sky." The collaboration with Transsolar was sparked by their reputation for creating artificial clouds. Laurent was intrigued by the opportunity to highlight the technological and chemical processes behind scent creation. Gröger explains that the installation's eerie effect is achieved by the interaction between cold and hot air, with the cloud positioned to visibly mark this transition. The project unexpectedly revealed a shared vision between the perfumer and the engineer. Laurent observed a natural synergy, stating that while Transsolar manages the environmental space, Cartier is responsible for its olfactory dimension. Both parties, according to Laurent, contribute to "wonderful ideas of the space around you," suggesting a harmonious blend of environmental engineering and sensory design. The 'Unidentified Scented Object' installation was on display until October 23rd at the Palais de Tokyo. Further details were available on the Cartier and Palais de Tokyo websites. The location of the installation was specified as Palais de Tokyo, 13 Avenue du Président Wilson, 75116 Paris. #Cartier #Transsolar #OlfactoryArt #ScentInstallation #PalaisDeTokyo #MathildeLaurent #SabineGroger #L'Envol #ArtAndTechnology

The Surface Design Show is set to feature its 'New Talent' section once again, providing a platform for emerging creatives in surface materials and lighting design. Scheduled from February 11 to 13, the event aims to highlight innovative designs and materials. This year's 'New Talent' section, curated by Jennifer Castoldi, Chief Creative Director at Trendease International, has significantly expanded, showcasing 37 exhibitors compared to 16 in the previous year. All participating designers have been in business for five years or less. Christopher Newton, Director of Surface Design Show, expressed enthusiasm for the collaboration with Trendease International, noting that Jennifer Castoldi has assembled a collection of exciting new designers with fresh ideas in material design. He anticipates that visitors will engage with the diverse designs, textures, and materials presented within the 'New Talent' area. Many of the exhibitors integrate traditional craft techniques with contemporary design approaches. For instance, Charlotte Relf, an experimental embroidery artist, utilizes exaggerated stitches to impart detail and energy to her work. Similarly, Frances Stone, a Royal School of Needlework graduate, employs various experimental embroidery techniques, including gold work, crewel work, and beading, to craft footstools, chairs, and cushions. Charlotte Clayton Design merges knitting with automotive interior design for surface applications, while Farr Designs combines photography with contemporary design through hand screen prints and digital technology. The 'New Talent' section demonstrates a broad spectrum of approaches to surface design. Janine Partington emphasizes carving and hand-painted leathers. Trifold presents designs featuring thermal and acoustic layers, folded using traditional origami tessellation. Research-based designer Megan Cowley creates mild steel molds using water jet technology, which are then transferred onto glass. Wallcoverings are a prominent feature among the 'New Talent' exhibitors. Olenka's luxury British wallpaper collection showcases natural motifs of leaves and flowers. Catherine Griffiths' work includes bold wallpaper designs, fabrics, and cushions, drawing inspiration from Celtic mythology, the Renaissance, and European architecture. West by Design specializes in intricate hand-painted wallpaper inspired by the English countryside. King Kong Design produces site-specific corporate wall art and custom wall panels for retail, public, and residential settings. A significant theme among the 'New Talent' exhibitors is sustainability and a focus on nature, reflecting the broader 'Close to Home' theme of the Surface Design Show, which emphasizes designing with a conscience beyond mere aesthetics. Jonel van Schalkwyk creates surface designs with human-sized plants in a painterly style. Designer Paula Nerlich concentrates on circular biomaterials, exploring vegan compostables and foams derived from industrial and household food waste. Atticus Durnell, founder of That’sCaffeine, has developed a material from recycled coffee grounds that emulates granite stone. Brussels-based Studio Gilles Werbrouck employs an innovative approach to material reuse by knitting textiles from unconventional sources such as video tape and dead stock from fashion designers. Access to the Surface Design Show is free for professional and trade visitors, with registration available online. #SurfaceDesignShow #NewTalent #EmergingCreatives #SurfaceMaterials #LightingDesign #InteriorDesign #SustainableDesign #MaterialInnovation #CraftTechniques