Berkeley designers propose building this pavilion entirely out of books, and you can help kickstart the project
This black-and-white time-lapse video by Toby Harriman shows San Francisco at its most dramatic. The skyline emerges quietly from its famous fog as the city and its bridges twinkle in the distance—including Leo Villareal’s Bay Lights installation. As the music builds, Gotham City SF picks up pace, showing dramatic angles at high speeds completely appropriate for an action thriller. You’d have to watch to really understand.
Tomorrow, Saturday, March 28, is the last day to enjoy Nike’s Air Max Box pop up at 735 East 3rd Street in LA’s Arts District. The installation, inspired by one of the company’s shoe boxes and designed to show off the brand’s Air Max Zero, is covered with an array of LED displays, projecting kinetic Nike-related graphics. Read More
Peter Zumthor’s $ 600 million plan for the Los Angeles County Museum of Art (LACMA) is changing. Again. According to a piece in the Los Angeles Times, the sprawling and curving black form has been angled off, weighted to the south, and outfitted with greyish, double-height galleries poking up above the main mass’ roofline.
When the Future had Fins: American Automotive Designs and Concepts, 1959-1973
Christopher West Mount Gallery, Pacific Design Center
8687 Melrose Avenue, West Hollywood, CA
Through May 20
Once upon a time the American car industry was king. Nothing captures the prestige, aspirations, and mythology of Detroit’s heyday quite like the working sketches and drawings used to develop and promote the land boats we used to call automobiles.
On March 13, the Los Angeles sky was emblazoned with a trail of upward-facing spotlights, marking every mile of Sunday’s Los Angeles Marathon, stretching 26 miles from Echo Park to Santa Monica. The installation, celebrating the event’s 30th running, and sponsored and designed by shoe company ASICS, used 124 spotlights, totaling more than 7.5 million lumens.
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Durotaxis rocker features gradient mesh informed by function, ergonomics, and aesthetics.
For Synthesis Design + Architecture founding principal Alvin Huang, there is a lot to love about 3D printing. But he does not always like how the technology is applied. “I see it all the time—a lot of students just 3D print everything,” said Huang, who also teaches at the USC School of Architecture. “You see things that could have been done better, faster, or cleaner by hand. I find it a very troublesome predicament we’re in, we’re letting the tool dictate.” When Stratasys contacted Synthesis about designing a piece for their Objet500 Connex3 printer, the architects decided to turn the relationship between human and machine on its head. Instead of asking how they could implement a preconceived design using the Objet printer, they challenged themselves to create something that could only be manufactured using this particular tool. Durotaxis Chair, a prototype of which debuted at the ACADIA 2014 conference, showcases Objet’s multi-material 3D printing capabilities with a gradient mesh that visually communicates the rocker’s function and ergonomics.