The city of Chandigarh in India, known for the architecture by Le Corbusier, is the subject and name of the new collection of sofas by Doshi Levien for Moroso. The principles of modernism, apparently totally unrelated to the city of Chandigarh yet deeply rooted in its identity, have inspired Nipa and Jonathan in the creation of a quintessentially modern seating collection, with a contemporary approach.
‘La Peña House’ by R-Zero Studio, Valle de Bravo, Mexico. All images © Jaime Navarro
Mexican practice r-zero studio has completed ‘La Peña House’, a single family dwelling situated at the bottom of a cliff in Valle De Bravo, Mexico. Due to the irregular topography, it has been constructed in three levels to blend with the landscape and to highlight and frame the lake in the distance. The orientation of the terrain and its location on a small inland peninsula provides the building with a micro-climate of its own that is maintained through the large windows, concrete walls and stone surfaces. the materials are able to retain the heat during the evening and preserve a cool environment during the day.
‘Geometric’ prototype by ko-ho
Finnish design firm ko-ho (Matti Korpela and Timo Hoisko) have created ‘geometric’, a prototype hemp composite chair. The design takes into account the life cycle of the product, from material acquisition to disposal. After a series of tests, the mix enables the manufacturing to be completed in one step, minimizing the energy needed.
The Brunswick Centre was designed by Patrick Hodgkinson in the mid-1960s, based on studies by Leslie Martin. It was initially planned as a private development at a time when private, mixed-use development in the UK was rare. Building started in 1967 and was completed in 1972, though the building fell some way short of its intended size. The original plan extended up to Euston Road but the Ministry of Defence would not release the site of a building they leased for use by the Territorial Army.
A precursor to today’s digital era, Polaroid’s iconic 1972 SX-70 Land Camera is notable not only for its achievements as the first folding and first SLR instant camera but also for its perfection in form, function, and beauty. The revolutionary camera ignited and defined the instant era, allowing a photographer to focus solely on capturing the moment at hand.
Of all Olympic events staged in living memory, Mexico 1968 – the XIX Olympiad – is one of the most fondly and best remembered. Not because it was the Olympiad where a woman first lit the Olympic flame, nor because more world records were broken in Mexico than in any other prior Olympiad, nor even because of the clenched-fist, Black Panther salutes of two African American athletes whose names almost nobody now recalls. MEXICO 68 sticks in the mind because the originality and cogency of its system of communication converted it into a paradigm of modern graphic and event design.
The Vespa GS 150, designed by Corradino D’Ascanio (Italian, 1891-1981) 1955. Manufactured by Piaggio S.p.A., Pontedera, Italy.
It is difficult to fully appreciate the impact that the Vesp GS 150 must have had when it was first seen in public at the Milan show towards the end of 1954. It was the scootering equivalent of the launch of the “E” Type Jaguar at Geneva in 1961. A landmark in scooter history, 60 mph performance was combined with beautifully streamlined styling that hardly seems dated today. There were other scooters around with this kind of performance, mostly German in origin. Whilst well engineered, they were heavy and had hopeless body styling. There was now a definite market for a fast touring scooter that could be ridden to- and compete in-the hundreds of sporting events that took place throughout Europe every summer. The GS had no serious competitor in this market until the introduction of the Lambretta TV series 2 in 1959. If you add style to the equation then there was no serious competitor, ever.
In the infancy of digital typography—as lead type, set by hand in heavy lead blocks or by machines that generated lines of metal type, was giving way to text set on screens. Wim Crouwel in 1967 saw an opportunity for an interesting experiment. Early computer screens—cathode ray tube (CRT) monitors—rendered images in fairly large pixels, making traditional curvilinear letterforms difficult to reconstruct, and so Crouwel set out to redesign the alphabet using only horizontal lines. New Alphabet is, in Crouwel’s words, “over-the-top and never meant to be really used,” a statement on the impact of new technologies on centuries of typographic tradition.
The ‘Peugeot DL122′ All Images © Laurent Picard
The ‘DL122′ urban bike concept by french carmakers Peugeot features a built-in carrier for laptops and documents. A briefcase or laptop case can be fit securely between the two walls of the main frame and even locked into place, thus offering better protection for the device. most innovatively, the design also provides better balance for the bike by maintaing the site of the center of gravity, in contrast to the use of baskets or backpacks for storage.
Le Corbusier, who famously called a house “a machine for living,” was fascinated—even obsessed—by another kind of machine, the automobile. His writings were strewn with references to autos: “If houses were built industrially, mass-produced like chassis, an aesthetic would be formed with surprising precision,” he wrote in Toward an Architecture (1923). In his “white phase” of the twenties and thirties, he insisted that his buildings be photographed with a modern automobile in the foreground. Le Corbusier moved beyond the theoretical in 1936, entering (with his cousin Pierre Jeanneret) an automobile design competition, submitting plans for “a minimalist vehicle for maximum functionality,” the Voiture Minimum. Despite Le Corbusier’s energetic promotion of his design to several important automakers, the Voiture Minimum was never mass-produced. This book is the first to tell the full and true story of Le Corbusier’s adventure in automobile design.