This colourful series of public toilets recently completed by Japanese architects Future Studio in Hiroshima have been designed to resemble origami cranes. The 17 Hiroshima Park Restrooms come in three different shapes, but each one has a unique colour. The restrooms are constructed entirely from concrete, which is punctured to create very small circular windows. The paint used to colour each restroom can be
Completed in 2009 in Hiroshima, Japan. Images by Toshiyuki Yano. Hiroshima City Planning chose the design from a competition to be the standard.It is the unique public project that approximately 5 restrooms are...
Slideshow: Japanese architects Future Studio conceived the rooftop terrace of this Hiroshima house as a stage, with its audience in the living room and kitchen. A ladder leads up from the first floor rooms to the sun deck, which is visible behind a plane of clear glass and two glazed doors. The walls of the
Image 10 of 25 from gallery of Wrap House / Future Studio. Photograph by Toshiyuki Yano
Image 13 of 29 from gallery of Hiroshima Park Restrooms: Absolute Arrows / Future Studio. Photograph by Toshiyuki Yano
Image 6 of 29 from gallery of Hiroshima Park Restrooms: Absolute Arrows / Future Studio. Photograph by Toshiyuki Yano
Image 24 of 29 from gallery of Hiroshima Park Restrooms: Absolute Arrows / Future Studio. Photograph by Toshiyuki Yano
Art Direction, 3D Art, Motion Graphics
Project: Shattered - Environment Concepts
Future Contemporary project is an Asian contemporary apartment located in Taipei, Taiwan, designed by the renowned Studio In2.
Dal 2009 ci occupiamo con entusiasmo e determinazione di piccoli e grandi progetti nel campo degli interni, del design e della comunicazione.
An exercise in speculative design from Media.Work, finished in a week.
Located in Manhattan’s exclusive NOHO district, 41 Bond Street is an 8-story residential building that occupies a prime spot in the historic neighborhood. Work…
Photo #18 from album
Here’s Nudge. I don’t have many font things to say about it. It’s a condensed gothic sans. It's a design based on a dog defecation sign composed of letters hand cut out of vinyl which I saw at Silver Lake Reservoir in LA. It stood out for having an uncharacteristically narrow n shape, and nearly closed apertures. Nudge is named after a verb I use to describe hand-kerning. Spacing/kerning is at the foundation of how most good type works and I love technologies like Letraset which threw that broom out with the dust and allowed some play. Nudge is in that vein. The contrast is low, the tapers are hardly visible. The rules feel a little broken, I'm not keeping track of which. With an X-Acto blade, a basic memory of Helvetica Condensed, half a Letraset sheet for Avant Garde Medium Condensed, and 15 minutes, you might create Nudge.
Since 1998 the Web Atlas of Contemporary Architecture
Henrietta is a revival of a font by the same name that was (probably) designed in the 1980s. It’s a Souvenir rip-off. But a rip-off with its own underlying logic. One with defined departures from that ubiquitous soft serif queen. It has a flatness that keeps it from being an oldstyle, a warble that feels more Art Nouveau than it does Arts and Crafts, a tall x-height, thick terminals, low contrast, with a lot of the diagonality of Windsor. In every in use I found, the letters are spaced tightly. Its a typeface that tried to hit the zeitgeist. What stood out to me about it, made it worth reviving, is that it's an opinionated rip-off. The whole idea, with a rip-off, is to siphon off some sales from the real version, right? At what point did the creator of Henrietta decide to take some major artistic liberties? After I became aware of Henrietta, I started noticing it in the big dumb books I own. It's in the Solotype catalog, and in 1990’s Homage to the Alphabet: A Typeface Sourcebook. Actually, during the 80's and 90's it’s in a lot of sources. But it isn’t really in the world. Maybe it sucks! Maybe it died for a reason, and lacks some important detail that keeps Souvenir in the upper echelon of font sales. It certainly has some..failings? The numerals feel stiff and collaged from other faces. There's inconsistent contrast, and the diacritics and furniture ($, ø, ç), and several characters look entirely mis-weighted. Or maybe, just maybe, it was poorly marketed. But ultimately, I think it's really beautiful. I'm hoping by reviving it, I can learn who drew it in the first place.
Closed Contact We’re told that apertures shouldn’t look too closed in a bold type and that optical sizes are intended for use at specific sizes only. Jaune says no to these type design conventions! It follows this NaN motto: take a bad idea and do it well, or at least die trying. If one typically avoids colliding glyph anatomy then Jaune looks at the problem upside down and sticks together that which normally shouldn’t touch. In a world where physical contact should be avoided, Jaune embraces social non-distancing. Not able to touch each other, Jaune letters start to touch themselves. A Truly Grotesk Grotesque Having its roots in early grotesque types but also taking inspiration from Roger Excoffon’s Antique Olive’s compact proportions, Jaune draws its own path and tries to renew the genre with its unique approach to structures, proportions, aperture treatment and contrast. Contrast is one of the key features of the family with the difference between thin and thick strokes being dramatic for a grotesque. This contrast, taking place in surprising places and accompanied by thin junctions, brings an elegance which sans-serif typefaces sometimes lack. A decision was made to maintain a healthy amount of contrast in the lighter weights, rooting them in an almost calligraphic heritage. Following the lead of its parent Antique Olive Compact, Jaune Maxi was created with compactness in mind. With its tight spacing and short extenders Maxi allows compact and powerful text blocks with minimal leading and letter-spacing, making it ideal for strong headlines. Jaune’s design process shows that, once again, constraints push for innovations. The challenge of having closed shapes and packing the maximum of weight in to the Maxi Black style lead to some of the most distinctive shapes in the family as seen in the /a, /e and /g. Distinctive shapes that have then been rolled out in all styles. A Family of Contrasts In one final act of contradiction Jaune introduces its Mini sub-family as an effort to re-map the characteristics of a super display typeface to one suitable for longer texts. Jaune Mini conveys the ideas present in its two big sisters but plays with exaggerated details: very open counters, large ink-traps and simplified structures. All artifacts improve its legibility and make it a perfect choice for longer text and smaller size use. But these exaggerated details also play well when seen at large size. So once again, follow the NaN motto: do whatever you want with the fonts, rules are here to be broken. And note that all glyphs are available in all styles in their respective touching / non touching alternates. Then you can have a non-touching Jaune Maxi and touching Jaune Mini. At the end of the day, Jaune is a family of contrasts. Ranging from the blackest Black to a razor sharp Thin, and from ultra display to ultra text, with a langage coverage of 224 latin languages, it’s intended to play in a tremendous variety of contexts.
