Giles Miller Studio designed a single, curved pixel element and collaborated with metal manufacturers Tecan to create 2433 stainless steel and etched brass pieces for its exterior.

The metal pixels are arranged at angles over the curved surface, forming patterns that change according to light conditions.

"We wanted to celebrate Clerkenwell as an architectural hub," Giles Miller told Dezeen, "the target shape stamps the district on the map."

A bullseye of brass panels sits in the centre of the glimmering structure, placed in front of a stone gate that was once part of St John's monastery. "St John's Gate is very iconic," said Miller. "We enjoyed the contrast of what we do against the old brick."

The installation in the central London district is Giles Miller Studio's latest iteration of imagery created by pixellated or reflective surfaces. For last year's Clerkenwell Design Week, the designers created an archway from 20,000 wooden hexagons at the entrance to the Farmiloe Building and designed a bar for a former petrol station the year before.

This year's event continues until Thursday 23 May. Find out who is exhibiting here or register to attend here.

Dezeen Watch Store also has a pop-up shop in the Farmiloe Building at Clerkenwell Design Week, where we are presenting a selection of our latest and best-selling watches - more details here.

Photography is by Jon Meade.

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Giles Miller Studio sent us the following information:

Giles Miller Studio and Tecan present The Heart of Architecture, Clerkenwell 2013

Critically acclaimed Giles Miller Studio is delighted to team up with British precision metal fabricators Tecan, in presenting ‘The Heart of Architecture’. This innovative installation has been constructed at the iconic Saint Johns Gate as a part of this year's Clerkenwell Design Week.

London’s Clerkenwell boasts the highest number of architects per square mile in Europe. The ‘Heart of Architecture’ consists of a giant sculptural target built to stamp Clerkenwell and its inhabitants on the world stage, and to represent this thriving area as the creative core of the British Architectural and Interior design world.

Giles Miller Studio has created this unique installation alongside Tecan, a precision metal manufacturer based in Dorset, who'se intricate and specialist manufacturing process has generated the latest in the studio's range of reflective surface systems.

Featuring Giles Miller’s signature technique of manipulating light and shadow to show intriguing imagery, the installation has been formed from thousands of systematically hand laid stainless steel and brass ‘pixels’. By angling the specifically designed elongated pixels at opposing angles the surface of the installation will become an observation of light and shade, reflecting and bouncing light patterns in a celebration of its historic yet creatively progressive surroundings.

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by Giles Miller Studio appeared first on Dezeen.

Called Variations, the project was curated by PS design consultants and involved Burks travelling to Calligaris' production centre in Manzano, where he conducted experiments in composition using the company's range of chairs.

Burks altered the brand's existing products by wrapping and weaving cords around and through their structures.

He also created installations from the chairs by piling them high and binding them in striped ropes.

"The experiments that we're doing now are, in one way or another, helping explore the future of plastic chairs," says Burks. "What happens when we have so many plastic chairs that are all so similar - are there ways that we can use craft to find a unique positioning?"

Thirteen kilometres of multicoloured ropes were strung from floor to ceiling in the showroom during Milan design week to create vitrines for the resulting pieces.

The experiments may form the basis of a new seating collection by Burks' studio Readymade Projects and the installation will be taken to the Paris showroom as part of Paris Designer Days from 4 to 9 June.

Burks often works with communities of artisans and past collaborations include lamps, tables and storage units made with basket weavers in a village outside of Dakar, and wire tables for Artecnica made by craftspeople in Cape Town.

Watch the designer talking about his design collaborations in developing countries in a movie from Design Indaba 2009.

See all our stories about Stephen Burks »
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for Calligaris appeared first on Dezeen.

Called Momentané, the show looks back at the Bouroullec brothers' career so far and features furniture, lighting, spatial designs, drawings, videos and photographs.

The largest room is dominated by a 12-metre-high textile installation and a series of partitions designed by the brothers.

Objects such as the brothers' Losanges rugs for Nanimarquina and Assemblages furniture for Galerie Kreo are displayed on podiums covered with their Pico tiles for Mutina.

In one of the side aisles is a collection of their office furniture, including the Copenhagen furniture designed for the Danish city's university and produced by Hay, and the Ready Made Curtain system for Kvadrat.

Six alcoves contain objects designed for domestic spaces, such as the Alcove sofa for Vitra and the Cloud modular shelving system for Cappellini, as well as drawings and photographs exploring the brothers' creative process.

The Momentané exhibition continues at Les Arts Décoratifs, 107 Rue de Rivoli, Paris, until 1 September 2013.

Recent work by the Bouroullecs includes a courtyard installation of rotating cork platforms in Milan last month and an aluminium chair and sideboard for Magis – see all design by Ronan and Erwan Bouroullec.

Here's more information from Les Arts Décoratifs:

From 25 April to 1 September 2013, Ronan and Erwan Bouroullec are revisiting fifteen years of creation in the Arts Décoratifs nave. Conceived as a gigantic installation combining the spectacular and the intimate, the 1,000 square-metre exhibition covers their entire career, highlighting every facet of their production: their objects and spatial designs, their limited editions and industrially produced pieces, their furniture for public spaces and the home, and their drawings, videos and photographs.

The Bouroullec brothers are focussing on three approaches to their work in the nave and its two side-aisles: in the nave in an installation in a vast architectural space; on the Tuileries side, with their reflection on the office and workspace, and on the Rivoli side with a more intimist approach highlighting their creative process.

Beneath a 12 metre-high textile vault in the nave, Erwan and Ronan Bouroullec have created an abstract landscape structured by their partition designs (Algues, North Tiles, Twigs, Clouds), which divide the space and guide visitors through the exhibition. On entering this monumental, surprising universe one is immediately immersed in its singular atmosphere. Like an openwork screen, the polystyrene Nuages opens the exhibition, then one is led by the partitions through a series of their creations displayed on podiums covered with the Pico tiles produced by Mutina, including the Losanges rugs for Nanimarquina and the Assemblages furniture for Galerie Kreo. These confrontations play on changes in scale and highlight their delicate, sensual aspects. Through the Algues screen one has a view of the Textile Field, originally created in 2011 for the Raphael Cartoons room in the Victoria & Albert museum.

In the Tuileries aisle, the Bouroullec brothers are focussing on their reflection on the workspace, which began with the Joyn desks for Vitra, a collaboration they are pursuing with their most recent creations, Workbay and Corktable. The Copenhagen furniture, produced by Hay, was specially designed and created for the new university of Copenhagen. Their designs for the office environment are pragmatic responses to the most recent evolutions in working practices: alone or with others and therefore requiring either intimate spaces conducive to concentration or, on the contrary, collective work areas. Visitors will be able to test the ergonomics and use of these pieces by trying out the furniture themselves. Separate workspaces can also be created with the Ready Made Curtain, a new system of very light, ready-to-install curtains developed for Kvadrat. 300 abstract drawings, either free expressions or linked to a specific design project, are being shown on the walls of this gallery.

The six alcoves in the Rivoli aisle focus on objects designed for more domestic and intimate spaces. These pieces, chosen for the dialogue they create with one another, are contextualised by models and a constellation of images. Preparatory drawings and photographs of factory production and details show the processes of creation and production.

In only fifteen years of prolific creativity, the Bouroullec brothers have produced an impressive body of work – furniture, objects, partitions, etc. – in an always simple and functional style and providing new solutions to contemporary lifestyles. They are particularly interested in problems of space and modularity. They often work on a quasi-architectural scale: one of their first pieces, the Lit Clos bed, created in 2000 for the Milan Furniture Fair, was designed for people living in a single room, and the Alcove Sofa (Vitra, 2007) can be transformed into a sofa or partition. The Cloud modular system (Cappellini) combines shelfs and partitions, the Algues (Vitra) and Twigs (Vitra) modular systems are assembled to create openwork screens, and the North Tiles (Kvadrat) and Clouds (Kvadrat) partitions are designed for acoustic comfort.

Fifteen years of creation

Ronan Bouroullec studied at the Ecole Nationale Supérieure des Arts Décoratifs and began his career working alone, immediately showing his originality in the Torique collection of combinatory vases and ceramics he produced at Vallauris in 1997. In 1999, Ronan was joined by his brother Erwan, who trained at the Ecole Nationale Supérieure d’Arts Paris- Cergy. Their continual creative dialogue and prolific output was concretised by their collaborations with major design publishers. The first of these, Giulio Cappellini, enabled them to rapidly assimilate industrial production methods in creations such as the Hole collection in 1999 and the Spring Chair in 2000. They then began their close creative relationship with Rolf Fehlbaum, chairman of Vitra, which produced many of their projects, including the Joyn modular desks (2002), the Algues modular partition system (2004) and more classical types of objects such as the Slow Chair (2007) and Vegetal Chair (2009).

The brothers also produced designs for other design manufacturers in Italy such as Magis (the Striped and Steelwood furniture) and Kartell (the Papyrus chair) and in England such as Established & Sons (the Quilt sofa and Lighthouse lamp). In France, they developed several pieces for Ligne Roset, a manufacturer specialised in seating, including the Outdoor chair, the origami-inspired Facett sofa and armchair collection and the Ploum sofa, whose exceptional comfort is the result of intensive research.

Their collaboration with Galerie Kreo from 2000 onwards enabled them to develop more experimental designs and explore themes dear to them, particularly the frontier between furniture and architecture, in pieces such as Cabane and Brick. Kreo provided them with a free environment in which they could propose projects unaffected by habitual industrial constraints: the Bells lamps, the Rizière table and the Lianes lights.

In parallel, the Bouroullec brothers have also designed exhibitions and interiors, including Issey Miyake's first A-POC shop in Paris in 2000, the Maison Flottante for the Centre National de l'Estampe et de l'Art imprimé at Chatou, and more recently the Camper shops. The design of the showrooms of the textile brand Kvadrat in Stockholm was an opportunity for them to develop the Tiles and Clouds modular textiles partitions. From 2010 to 2013 they began new collaborations and widened their fields of activity. They designed a complete bathroom range for Axor (Hansgrohe group), the Piani and Aim lamps for Flos, the Losanges rug for Nanimarquina, the Ovale table service for Alessi, the Pico ceramic tiles collection for Mutina and university furniture for Hay. Their creations are now in numerous museums, including the Musée des Arts Décoratifs and the Musée National d’Art Moderne–Centre Pompidou in Paris, the Museum of Modern Art in New York, the Art Institute of Chicago, the Design Museum in London and the Museum Boijmans van Beuningen in Rotterdam.

Publication

To coincide with this exhibition, DRAWING, a book of 800 drawings dating from 2004 to 2012, is being published by JRP Ringier. Drawing is their main day-to-day activity and the pencil the principal tool in their creative process and means of concretising their emotions, both as part of specific research in a project's development or as a means of free personal expression.

The Arts Décoratifs Museums
107 rue de Rivoli, 75001 Paris
Open Tuesday to Sunday 11am to 6pm (late opening Thursday until 9pm: Temporary exhibitions and jewellery gallery only)

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Ronan and Erwan Bouroullec appeared first on Dezeen.

The Colors News Machine was created for the latest issue of Colors magazine by Canadian Jonathan Chomko, a interaction designer at Italian communications research centre Fabrica, as a mechanical allegory of contemporary news dissemination.

In the installation, a tweet sent to @colorsmachine is read out by a megaphone, captured on a tape recorder, converted into text and displayed on a television. It's then filmed on a camcorder and converted into a radio signal to be broadcast via an antenna. It's then picked up by a microphone, converted back into text and finally printed out as a headline.

"Sometimes the news comes through perfectly, but usually there's a small change in each stage and that makes for really a big difference at the end," Chomko told Dezeen.

The technological game of Chinese whispers uses common tools like language detection, Google translation, voice recognition and optical character recognition to replicate the errors that humans can make in digesting and passing on news. "In the end it's not really about the technology, it's about humans and the natural bias of hearing what you want to hear," explains Chomko.

"Once it's out there, the news gets replicated and copied and pasted from one media to the other," adds Cosimo Bizzarri, executive editor of Colors magazine. "The increased speed in production of news plus increased channels that it goes through from technology to technology means the final news that gets to you is possibly very different from what was put out there by a journalist."

The installation is on show as part of the International Journalism Festival in Perugia, Italy, until 28 April.

Last year we reported on an installation in London that took random snippets of news harvested from the internet, muddled them up and printed the resulting amusing headlines on a traditional wooden letterpress, intended to show that the more information we consume, the less we understand.

Here's some more information from Fabrica:

A behind-the-scenes look at modern journalism

COLORS Magazine will take part in the International Journalism Festival in Perugia, Italy, from April 24th to 28th with a preview of its new issue Making The News.

Today, 60% of British newspaper articles are copied from press releases and wire agency dispatches. American newspaper sales have shrunk by half in the last ten years. While traditional journalism is showing signs of crisis, new ways to make news are emerging. In Waziristan, Pakistan, where foreign journalists are forbidden, local photographer Noor Behram gathers and distributes unseen images of the aftermath of American drone attacks. Largely ignored by state television, footage of Egyptian anti-government protests are broadcast by activists in a makeshift outdoor movie theatre in Tahrir Square, Cairo. And in Mexico, where 52 journalists have been killed over the past seven years, the anonymously-run, crowd-sourced Blog del Narco has become a leading source of information on gang-related murders.

COLORS 86 takes a look behind the scenes of modern journalism, revealing tools and mechanisms used by old and new newsmakers: from paparazzi stakeouts to censorship, media hoaxes to photo-retouching tricks, not to mention cameras installed on drones, declarations of war via Twitter and Al Qaeda's activities on Facebook. To learn more, stop by the Raffaello room of Hotel Brufani at 11am on April 24th, where COLORS editor-in-chief Patrick Waterhouse will share his thoughts on making a magazine that, since 1991, has stood out for its striking photography and in-depth “slow journalism”.

The News Machine, an interactive installation designed and created by young talents at FABRICA, will also engage festival attendees from April 24th to 28th at the Spazio Cantarelli in Piazza della Repubblica 9. The installation is in continual motion, creating, transmitting and cannibalizing its own newsfeed across different media to stand as a mechanical allegory of newsmaking today.

COLORS is a quarterly, monothematic magazine founded in 1991 under the direction of Oliviero Toscani and Tibor Kalman. It is distributed internationally and published in six bilingual editions (English+Italian, French, Spanish, Korean, Chinese and Portuguese). The COLORS editorial team is part of FABRICA, Benetton Group’s communications research centre, and is composed of an international team of young researchers, editors, art directors and photographers. It is assisted by the constant collaboration of a network of correspondents from every corner of the world.

Founded in 2006 by Arianna Ciccone and Christopher Potter, the International Journalism Festival is an event held in April each year in Perugia, Italy. It is a program of meetings, debates, interviews, book presentations, exhibitions and workshops that bring together the worlds of journalism, media and communications.

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by Fabrica appeared first on Dezeen.

"We choreographed a contemporary dancer in a motion capture studio," Universal Everything founder Matt Pyke told Dezeen. "We then transformed the motion capture data into a digital sculpture, formed from the trails of human movement."

The hundreds of white light points that form the dancing figure become strands that glow yellow, then red, before solidifying into blue as the dancer moves across the screen.

Universal Everything produced animations at a highly detailed 16K resolution for the 25-metre-wide by four-metre-high screen in the Hyundai Vision Hall, located at the South Korean motor group's Seoul campus.

"The film was produced at such a high resolution to achieve a life-sized dancer moving through the space," said Pyke.

The studio and various collaborators created 18 short films for the hall to turn it into "a space that inspires leaders, engineers, scientists, workers and designers to learn, rethink, and collaborate."

More digital installations on Dezeen include Arik Levy's interactive screen that uses visitors' movements to mutate computer-generated crystals and a wall of digital animals that distract children on their way to surgery.

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by Universal Everything appeared first on Dezeen.