Olga Akulova installs glass walls and monolithic fireplace within Kiev penthouse

Ukrainian designer Olga Akulova added glazed partitions, metal-topped counters and a wooden bath to this apartment on the 30th level of a condominium in Kiev.

Akulova was asked to create a space using natural materials that would be suitable for her young client to entertain friends, and was influenced by "the new English style of design".

"I am inspired by the colours that [British] stylist Hanna Franklin uses," Akulova told Dezeen.
"The framework of the flat was amazing, but it was without any particular design."

As the client was keen to have natural materials throughout the Novopecherskie Lipki apartment, Akulova installed structural oak storage systems, with elm wood for the cabinet doors.

In the kitchen, an island was topped with sheet metal that matches the grey colour of the concrete ceiling and structural columns.

Related story: CO-AP creates rooftop oasis for residents of a Sydney penthouseCopper-coloured chairs match a pendant light that hangs above the wooden table.

A large sliding glass door connects the master bedroom to the bathroom, where the designer has installed a white metal structure fronted by plants, a black ceramic sink and a wooden bath.

Offset from the bedroom is a reading space, which can again be accessed via sliding glass doors. Floor-to-ceiling windows in this space offer panoramic views of the city and Dnieper River.

In the communal space, a monolithic white rectangle separates the living room and wardrobe area, and contains an open wooden fireplace and a hidden television.

The brief also included the installation of a "clever house" system that would automatically control the temperature, security, lighting and electrical equipment.

Recently, Belgian studio De Meester Vliegen Architecten installed a monolithic marble partition on top of a steel fireplace in an Antwerp penthouse, while Israeli studio Pitsou Kedem Architects has knocked four apartments into one to create a two-storey Tel Aviv property with a rooftop pool.
Photography is by Andrey Avdeenko.
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Benjamin Wiessner animates a vintage jazz club for David Gilmour’s music video

Music: producer Benjamin Wiessner referred to the design of old French lithograph posters to create this multi-layered illustrated video for ex-Pink Floyd musician David Gilmour.

Around 9,000 frames of hand-drawn animation went into creating the short film to accompany The Girl in the Yellow Dress, which tells the story of a woman dressed in yellow paying a visit to a jazz club.

"David Gilmour's creative team had seen our previous short film and were drawn to the dimensionality and movement in that style, so they asked if we'd bring a similar technique to their song," Wiessner, a producer at Ornana Films, told Dezeen.

Related story: Satan's fall from heaven retold as an animation for David Gilmour's Rattle That Lock music videoThe film opens on illustrated type, which is blown away from the lens to reveal a jazz band – drawn with purposefully sketchy and perpetually shifting lines.

Their conversation reveals that the distracted saxophone player is waiting for a girl to arrive at the club they're performing in – based on a live-action film shoot Wiessner oversaw, and which provided a reference for the freehand drawings.

Moving to the exterior of the jazz club, a pair of alleycats watch a mysterious coated lady enter the club, who reveals herself to be the eponymous girl in the yellow dress.

As she walks past the club-goers, her dress is reflected in their eyes. A man wearing a panama hat sits smoking, while the animation itself shifts like liquid or smoke from one person to another.

"The animation was touched by several hands to get the layered contours, vibrant colours, and exaggerated character design of old French Lithograph posters," said Wiessner. "We wanted to create a moving version of that look, as if each frame had all the layers stamped on the page."

"We animated with pencil, then contour lines were gone over with a brush tip marker," he added. "We used gouache to get nice life in the varying brushstrokes, then we layered the contours over the paint layer in the compositing step so that the colours would do interesting things when they ran together."

The film gives viewers insights into the daydreams of each of the club-goers as they imagine dancing with the woman.

As one individual lights a cigarette she is momentarily transformed into a flame on the end of a matchstick before it is dropped by the man and he burns himself.

Finally the woman moves to the dance floor with the man in the panama hat, and the film focuses on her eyes as she looks at the sad saxophone player over his shoulder.

After the dance concludes the woman storms out, with her dress reflected in the band leader's eyes as she goes.

Gilmour – who was previously a guitarist in progressive rock band Pink Floyd – released his Rattle That Lock Album on 18 September 2015.

Dezeen previously featured the artist's Rattle That Lock video, which used animation to re-tell Satan's fall from heaven.
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Joe Doucet encourages westerners to drink sake with SŌTŌ bottle design

New York designer Joe Doucet created the packaging and branding for a new brand of sake, including a dimpled glass bottle designed to represent the mountains of Japan's Niigata Prefecture.
The sake is named SŌTŌ, which means "outside" in Japanese, and is made in Japan using only local materials. The water used to produce the drink is sourced from Niigata, so the region's terrain influenced the bottle's design.

"We wanted the packaging to be 100 per cent produced in Japan and of the quality associated with Japanese craft," Doucet told Dezeen. "We therefore used bottles made in Japan of Japanese glass."
His challenge was to design the bottle and branding for the Japanese alcoholic drink – made using fermented rice and koji mould – for a western audience.

"We saw this as an opportunity to take the fear and dread out of ordering a sake," said Doucet. "To bring this beautifully complex spirit to the rest of the world."

Related story: Sempli aims to provide "ultimate beer glasses" with Monti collectionThe packaging design is intended to respect and reinterpret the traditional sake bottle, which typically features a paper wrapper around its lid.
"The bottle needed to feel at once traditional but new," Doucet said. "I wanted to be respectful of Japanese culture and aesthetics without mimicking it."

A square of Japanese denim replaces the decorative wrapper that protects the cap of finer sakes. The paper is usually just disposed of, but the denim can be used as a functional element in the drinking experience.
"The denim topper is removed, used to wipe condensation from the chilled bottle and is then used as a coaster to rest the bottle on leaving no ring on fine surfaces," Doucet told Dezeen.
New material choices and technologies were used to ensure that the drink can be served chilled in North America. A water-resistant label replaces the usual paper sticker and a UV coating protects the sake from sunlight.

"Great sake must be served cold," said Doucet. "In North America chilled beverages are served in ice buckets. This meant a paper label was out of the question."
"We chose to do a 360-degree silkscreen, which allowed a full canvas to lay out the copy in a new and interesting way that no spirit has done before," he added.
The opaque label has a hole on either side, allowing the consumer to see straight through the bottle. The text – in English and Japanese – is laid out asymmetrically.

In another renewed take on sake drinking, Kazuya Koike used a fragrant Japanese wood to carve a set of sake cups that fit onto carafes as caps.
Other projects from Doucet include a solid birch chair with a silicone tubular backrest that flexes to the shape of the sitter, a limited-edition collection of "snap fit" marble tables and a mirror that makes the viewer look as if they're immersed in water.
Photography is by Kendall Mills.
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Martin Jakobsen designs spherical Quido cocktail glass

Czech designer Martin Jakobsen has created a globe-shaped cocktail glass that keeps liquids contained with a giant silicone stopper (+ slideshow).
The Quido vessel features two glass straws that are held in round puncture-holes in the top of the receptacle, which is hand-blown in the Czech Republic.

A black silicon stopper in the side of the glass can be removed to add drinks, and replaced again to ensure against accidental spillages.

Related story: Sempli aims to provide "ultimate beer glasses" with Monti collectionSan Francisco design duo Superduperstudio also opted for a spill-proof approach with their Saturn wine glasses, which have indented bases instead of traditional stems.
By enclosing the drink entirely, the Quido glass keeps flavours and scents contained as well as preventing insects from getting in.

The designer – who set up his studio Jakobsen Design in 2010 – has created various pieces of unusual glassware over the years, including the Luno container that features a ball of cork as a lid.
His Halm cocktail glass – a precursor to Quido – allows drinks to be served upside down by balancing on its stopper, while his Revolution wine glass lets the drinker hold the vessel either horizontally or vertically.

After working with bartenders from around the world, Jakobsen "further innovated" the original upside-down Halm design to create the double-strawed Quido, which has its stopper positioned at the side of the glass instead of the bottom.

Related story: Alliance glass collection encourages drinkers to match wine with water"As [designer] William Morris said: 'Have nothing in your house that you do not know to be useful, or believe to be beautiful'," Jakobsen told Dezeen.

"I tried to design a glass which is not only a result of experience and further development but still fits into my collection of glassware," he added.
Photography is by Anna Pleslova.
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Make That Studio designs minimal version of traditional Sicilian jug

Italian design office Make That Studio has unveiled a jug based on the water-smoothed shapes of riverbed pebbles (+ slideshow).

The oval jug takes its cues from an ancient Sicilian container that dates back hundreds of years and was typically used to store oil or water – although it is now mostly sold as a souvenir in the district of Caltagirone.

The distinguishing feature of the jug is a stoppered funnel that leads up from the base, allowing it to be filled from the bottom.
Traditionally the container was conical-shaped and featured a protruding side spout. But Make That Studio referred to the water-smoothed shapes of pebbles found in the Simeto – the main river that runs through Sicily – for its redesign. Its version is named Pètra.

Like its predecessor, the ceramic container has a hole in the bottom that means it can be filled from an inverted position, as well as a single puncture hole in one side that allows liquid to be poured in a thin stream.

Related story: Aldo Bakker takes over Amsterdam exhibition space with just five jugs"We wanted to give a new life to the aesthetics of this jug, creating a contemporary tableware accessory that represents the history of the Sicilian island, characterised by countless cultural influences," said the studio, who work across a range of disciplines including graphic design, art direction and styling.

The limited-edition jugs are available in both glossy white and matt stone from Prontabarre, and come as numbered pieces.

Other designers have also dabbled with reinventing jugs for contemporary audiences. Spanish designer Patricia Urquiola reinterpreted a Basque jug design for Bilbao restaurants, retaining its distinctive slanted shape, while Ian Aandersson purposefully deformed traditional shapes to increase functionality.
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Jessica Smarsch transforms muscle movements into textured garments

Dutch Design Week 2015: Eindhoven designer Jessica Smarsch used digitally captured body movements to inform the raised patterns across the clothes in this fashion collection.
To create the shapes of her Constructing Connectivity range, Smarsch attached a wireless armband to participants to record their movements and relayed the data through an Arduino circuit board.
The information was then fed into a specially developed software programme that visualises the movements as a series of on-screen graphic patterns.

By changing their movements, armband-wearers could alter the animated shapes to influence the final patterns, which were downloaded as a series of instructions for a loom.

Related story: The Unseen creates "coded couture" to read wearers' auras"Rhythm and repetition are key components to the textile making process and are also the aspects that contribute to its association with mind-body connectivity," said Smarsch, who graduated from a masters programme at Design Academy Eindhoven this year.

"In some cases, participants mimicked the literal motions of the weaving process, but with abstracted props," she told Dezeen. "Finally these props were developed into a simple modular tool set. These components have variations in weight, flexibility – some even make sound – and can be customised by the user."
Digital files of the patterns were read by industrial looms at TextieLab, and translated into textiles that featured a mix of fibres woven together. By washing the material, the fibres became agitated and constricted to create a textured outcome.

For the first collection, the designer collaborated with dancer Ron Duiker to create a series of patterns that were transformed into a range of seven shirts.
"The graphics were fine-tuned through several iterations of movement before we achieved a desirable set of outcomes," the designer said.

Although Smarsch has a professional background in textiles, she told Dezeen that the project posed significant technical challenges.

Related story: Francis Bitonti creates pixellated 3D-printed shoes using cellular automation"We are so used to pushing a button and getting immediate, flawless feedback," she said. "We take this for granted, but these flawless results are incredibly complex and highly designed."

"Starting from the bottom-up with the electrodes and Arduino, I was able to understand how these systems work – and how complex the process would be to create a working model."
The designer sees the project as an opportunity to re-introduce craftsmanship, and reconsider the production process by creating a system based around genuine demand rather than "mindless consumption".
"Textile making was a meditative way of working that required creative engagement and purposeful decision making," she told Dezeen.

"After working in the textile industry for many years, I felt that there was quite a disconnection between this way of working and the industrial process."
"Rather than return to craft through handiwork, I wanted to explore ways to reintegrate mind-body connectivity into our incredibly sophisticated, industrially mechanised processes," she added.
Smarsch is currently speaking to a potential industrial textile partner, and is hoping to develop the software and hardware into a system that may be accessible to all.

The clothes will be exhibited at Design Academy Eindhoven as part of Dutch Design Week, which takes place from 17 to 25 October.
Designer Brooke Roberts similarly used biological data in a collection of clothes, turning MRI brain scans and medical imagery into patterns for women's knitwear.
Electronics and programming was provided by Marco van Nieuwenhoven and Sami Sabik. Photography is by Lisa Klappe.
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Pitsou Kedem’s House by the Sea features stripy aluminium walls and a cantilevered bedroom

Horizontal slits create lines of shadow across the facades of this beachfront house in Israel by Pitsou Kedem Architects, which has a cantilevered upper storey that projects towards the Mediterranean Sea (+slideshow).

The property was designed by Pitsou Kedem's Tel-Aviv studio for a couple and their three children, and is located in the northern Israeli village of Shavei Tzion, close to the owners' factory in a nearby industrial area.

The house's plot is situated just 70 metres from the sea and looks directly onto an area of scrubland leading to the beach. The design aims to accentuate this connection with the sights and sounds of the sea.

"The client asked for the house to be open to the sea and have a minimalist design," Kedem told Dezeen. "We tried to create a minimal architecture and not produce visual noise."

Another key influence on the house's simple geometric forms and neutral material palette came from the architectural principles of the International Style, which was adopted by many Israeli architects in the 1930s and 1940s.

Related story: Tel Aviv Penthouse by Pitsou Kedem features an infinity pool overlooking the cityKedem has previously applied a similar aesthetic to projects including a house in Tel-Aviv featuring a concrete box cantilevered over a glass-walled ground floor, and a home for his own family with concrete walls and a roof that seems to hover above them.

The side of the house facing the access road and the entrance courtyard features predominantly solid surfaces, with narrow horizontal openings allowing daylight to enter a porch area housing a small tree.

A white box jutting out from the first floor contains bathrooms for the bedrooms on this level. Another small bedroom is also afforded light and privacy by the horizontal white cladding.

The striped surface is formed from aluminium panels that extend along the sides of the upper storey's cantilevered section, drawing the eye towards the open vista to the west.
The cladding also offers a protective insulating layer to prevent the interior from overheating in the desert climate.

A more pronounced cantilever is located at the rear of the building, allowing the master bedroom suite to project out over above the garden.

"The main bedroom on the second floor is suspended in the air without pillars below, which emphasises the aspiration of the entire structure to flow like waves of the sea," Kedem added.
"The hovering section generates a sense of lightness and floating, like white foam floating on the edge of each wave."

Next to and below the cantilevered volume, large windows flood the double-height living area on the ground floor with natural light and frame views towards the horizon.

Windows set into the surfaces of the master bedroom and the other bedrooms lining the south-facing first floor are framed by thin protruding lintels that provide shade from the sun without disrupting the views.

The horizontal slits incorporated into the cladding recur in the balustrades of the first-floor gallery, creating a direct connection between the interior and the west-facing cantilever.
Photography is by Amit Geron, with styling by Eti Buskila.
Project credits:
Design team: Irene Goldberg, Tamar Berger, Pitsou KedemLead architect: Tamar BergerLighting design: Orly Avron Alkabes
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Henning Larsen’s grass-roofed Moesgaard Museum photographed by Hufton + Crow

These new shots by photography duo Hufton + Crow show visitors climbing the grass-covered sloping roof of the Moesgaard Museum near Aarhus, designed by Danish firm Henning Larsen Architects (+ slideshow).

Completed in 2014, the wedge-shaped museum contains a collection dedicated to prehistory and ethnography, while its hill-like roof is used as a picnic site in summer and for sledging in winter.

The building is partly submerged into its sloping site.

Related story: Architectural photography was "staged and contrived" before digital, say Hufton and CrowVarious apertures in the roof allow natural light to enter galleries arranged over three storeys, where exhibits include seven models depicting the stages of human evolution, burial mounds and sets recreating parts of Viking towns.

Towards the top of the roof, a horizontal section juts out to form a lookout point offering vistas of the surrounding countryside and Aarhus Bay.

Henning Larsen Architects, which was established in 1959, is responsible for buildings including the Harpa Concert and Conference Centre in Reykjavík and the Copenhagen Opera. Founder Henning Larsen passed away in 2012, but the firm continues to operate under his name.
Photography is by Hufton + Crow. Dezeen interviewed the duo earlier this year about the advantages of digital photography, and why retouching is just as important as shooting.
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Vitra Design Museum hosts major Bauhaus retrospective

Work from Bauhaus artists and designers including Walter Gropius, Marianne Brandt and Wassily Kandinsky is on display at the Vitra Design Museum in Germany (+ slideshow).
Mechanical Ballet, 1923, by Kurt Schmidt with F W Bogler and G Teltscher. New production at Theater der Klänge, 2009. Photograph by O EltingerCreated as a comprehensive overview of work from the influential German art and design school, the exhibition covers a range of disciplines including design, architecture, art, film and photography.
Book plate from the manifesto and programme of the Staatliches Bauhaus in Weimar, 1919, by Walter Gropius. Image courtesy of Pro LitterisFounded by Gropius in 1919, the Bauhaus taught Modernist principles across art, architecture, graphic design, interior design and industrial design.
Wassily Chair, 1983, by Alessandro Mendini. Image courtesy of Jürgen Hans, Vitra Design MuseumSubsequent directors included architects Hannes Meyer – from 1928 to 1930 – and Ludwig Mies van der Rohe, who served until the school closed under pressure from the Nazi government in 1933.
Pipe table and chair, 2009, by Konstantin Grcic. Photography by Florian BöhmThe show, titled The Bauhaus #itsalldesign, is divided into four themed sections, with many of the pieces never having been exhibited before.

Related story: Bauhaus opens its dorms to paying guestsThe opening part of the exhibition examines the historical context of the Bauhaus, while successive sections examine lesser-known design objects, and the theme of space – with a focus on the different individuals that contributed to the school's design approach.
Design for a multi-media exhibition stand for Regina tooth paste, 1924, by Herbert Bayer. Courtesy of Pro LitterisA final section examines communication, covering typography as well as experimental film and photography.
Armchair MR 20/3, 1927, by Ludwig Mies van der Rohe. Image courtesy of Pro LitterisKey pieces on display include Walter Gropius' 1919 manifesto, a Ludwig Mies van der Rohe armchair with U-shaped metal arms, and Josef Albers' 1923 Park stained glass panel.
Park by Josef Albers 1923/24. Courtesy of The Josef and Anni Albers Foundation, Pro Litteris, 2015, ARSNHistoric objects are contrasted by work from contemporary designers influenced by the movement, such as Konstantin Grcic's Pipe table and chair, Opendesk's Edie stool and Front Design's Sketch furniture.
Stars and Stripes, 2015, by MIIROAdditional pieces were also commissioned for the exhibition by artists Adrian Sauer and Olaf Nicolai, and architects Philipp Oswalt and Joseph Grima – who submitted a digital "docudrama" that follows the ghost of Gropius through the universe of video game Minecraft.
Still from Minecraft: Titan City, 2014, by Colonial Puppet. Part of the exhibition contribution by Joseph Grima, Space CaviarA recent international competition calling for proposals for a new Bauhaus museum was jointly won by two designs – a long rectangular building with an external structure frame, and a group of colourful conjoined pods.
Lath chair 1922 by Marcel Breuer. Photography by Jürgen Hans Vitra Design Museum, courtesy of Collection Vitra Design MuseumThe exhibition opened 26 September 2015 at the Vitra Design Museum in Weil am Rhein, Germany, and continues until 28 February 2016.
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Matali Crasset adds claw-shaped ring to Extratoof jewellery line for Le Buisson

French designer Matali Crasset has created a range of rings with talon-like silver settings to add to her collection for Parisian jewellers Le Buisson.

The rings feature single globe-shaped pieces of red agate, turquoise, yellow jasper or lemon quartz, held in a setting made of seven spurs, which taper into rounded ends.

The sections of the setting extend around and above the semi-precious stones, which are held on a silver band.

Related story: Matali Crasset completes dessert-themed common room for French culinary school The rings add to a previous collection Crasset designed in collaboration with the Centre Pompidou arts centre for French jewellery brand Le Buisson, which featured pendants with the same multi-fingered settings.

The jewellery line was an extension of an installation Crasset created for the Centre Pompidou in Paris, which saw her transform a children's gallery into a playground of artificial "neo-vegetation" – as the designer termed it.
"This is a world closely linked to jewellery's natural passion for plants and flowers," said Crasset. "The idea to design a piece of jewellery came naturally from these common links."

An earlier partnership with Le Buisson marked the designer's first venture into the world of jewellery, with a series of pieces that featured tiny figures scuba diving, flying off with a jewel, and perched on a unicycle.
Crasset has also designed sofas made from a system of interchangeable modules, a series of wicker pieces made to promote traditional Zimbabwean weaving techniques, and multi-faced concrete presentation pieces.

Earlier this year, Klemens Schillinger transformed the ring into a jewellery-style infographic, creating a series of pieces that were sized to reflect the fluctuating price of gold over the past five decades.
Other unusual jewellery designs include Ashley Heather's collection made using silver salvaged from discarded electronic products, and a range of rings made of small but fully functional architects' implements.
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