Technical performance meets street-style in these breathable, water-resistant "adventure" pants
by Hans Aschim in Style on 11 March 2014
Looking stylish no longer means having to wear clothes that don't hold up to the rigors of the outdoors. Following their impressive debut reflective windshell, LA-based technical clothing designer Lunis presents their newest piece to blur the line between streetwear and outdoor gear: the Apollo pants. Constructed from a field-tested burly blend of nylon, polyester and elastane, the pants feature design details you would expect from a pair built purely for the outdoors, yet with a tailored city-ready look and fit.
"My friends and I love adventure travel and my goal was to create a single pair of pants for the journey. Simplifying is key to travel and my life in general," says Lunis founder and designer Brett Clouser. Overlocked seams are then cross-stitched for added durability while the integration of Swiss-made Schoeller dryskin fabric beads off liquids; a Nanosphere coating (where the particles of a surface are so intricate, spills simply cannot ingrain themselves in the fabric) keeps you clean for days. If you're hitting the streets on your bike, roll up the right pant leg to reveal an ultra-high visibility reflective design while a sixth, zippered pocket keeps valuables secured. The Apollo's fabric is highly breathable—wicking away sweat—meaning they stay dry inside and out.
Available in gray and black (with the possibility of a navy colorway) the Apollo pants are currently available via Kickstarter for $158.
Images courtesy of Lunis
A few of our favorites that shared a similar structure, from the annual NYC art fair
by David Graver in Culture on 11 March 2014
This year's Armory Show brought together a multitude of respected galleries, and the contemporary and modern artwork of the talent they represent. In its 15th year, the show displayed artwork that excelled—and surprises were around every corner. Quite a few pieces incorporated spikes, spears, speckles and splotches across both texture and structure. Here, we highlight those that most impressed and baffled.
American dancer and artist Nick Cave revealed three new figurative sculptures in his "Soundsuit" series. All constructed in 2014 from fabric, buttons, antique sifter and a vortex of wire, each piece feels hyper-futuristic and imaginative. Seen at the Jack Shainman Gallery booth, the latest work appeared equal part astronaut and medieval knight. While the body was speckled with buttons, it was the void where a face would normally be expected that swirled around with thin wiry spikes. Each of the three figures were over six feet tall, adding to the overall momentous impression.
With organic energy—despite its metal composition and an almost cactus-plus-planter form—Todd Siler's "Metamorphing NanoCrystals" (2013-14) alludes to science fiction. With a CD-like rainbow sheen glistening off of mixed media on a cut and welded aluminum plate, a base is formed. The rest of the sculpture (spied at Ronald Feldman Fine Arts's booth) is a series of starry spikes, barbed and protruding like the needles of thistles. While it may look like a plant, it's definitely a work of art.
Iñigo Manglano-Ovalle's "Birds in Space series" (2013) represent exactly as their title states, yet in the form of spikes. Either dangling or standing upright at Galerie Thomas Schulte, they're sleek and inspired sculptural works, with a magnificence and a scientific edge. One of the pieces, "Bird in Space MACH 10 Hypervelocity Test (Run 3680, 000188-000284)" features not only the mounted feather-like spike, but also the massive, symmetrical table upon which it rests—yielding additional depths to the piece's message.
The Postmasters Gallery booth evoked fantastical zoo vibes by way of Monica Cook's latest sculptures. An open thorax and fangs of a pig on a stool, as well as the claws of a nearby rabbit all invoked scary spikes. These grotesque animals—composed of various mixed media—jarred and warped the mind, with additional fear resonating from the bone and talons. Spikes, here, were used in the most natural sense, depicting actual animal body parts.
Conceptual photographer Chris Jordan (who first caught our collective eye back in 2007) showcased 2011's "Caps Seurat." This large-scale archival digital pigment print, mounted at Robert Klein Gallery, has an even larger concept. The image depicts 400,000 plastic bottle caps (equal to the number of bottles consumed in the US every minute at its year of construction) placed in a formation that yields a woman holding an umbrella overlooking scenery. The visual is stunning, but takes on an entirely new meaning when considering its speckled, dot-art-like construction from plastic waste.
At Marlborough Gallery's booth, Spanish artist Juan Genovés's "Arido" (2013) offered a dual experience. From afar, the mixed media on a panel appeared to be many tiny figures walking on a desert landscape looked at from above. Up close, the work was a meticulous speckling of materials, sometimes one atop another. Altogether abstract and figurative, each figure appears to be a gemstone in rough terrain.
It's been two years since the death of sculptor Ken Price, and his work continues to mesmerize. "Fats," from 1999, features acrylic on fired ceramic, in the form of a speckled blob. The colors add celebratory character to a shape as liberally flowing as it is concise. This piece, seen at Vivian Horan Fine Art's booth, contains a very simple wonderment, rounded out with a smooth finish.
With "Beyond Blue" (2014), an oil on panel work, Kelly Reemsten speckles white dots within multicolored circles, all of which adds dimension to her image of a girl falling backward through nothingness. This work, found at David Klein Gallery's booth, relies on the speckling for surface texture as much as it does storytelling.
Photos by Alexandre Corda
Last year's 3D Print Show Artist of the Year revolutionizes art and architecture
by David Graver in Design on 10 March 2014
At the most recent 3D Printshow in London, artist and architect Isaïe Bloch took top honors as Artist of the Year with his work "Satire." The intricate sculpture is just one of many that illuminates his multidisciplinary mastery, magnetizing vision and critical acclaim. Bloch's company and atelier Ergatory, formed in 2008, produces a dizzying range of visionary works, everything from radical architectural concepts to skeletonized home goods—all with a focus on 3D printing and creative fabrication. Bloch, Belgium-born but based in the UK, also happens to have a masters degree in experimental architecture and a second from the prestigious postgraduate program Excessive, lead by Hernan Diaz Alonso, at Die Angewandte, in Vienna, Austria.
Bloch defines his ongoing design research and exploration of materials as, "the correlation between craftsmanship and additive manufacturing within several creative domains, including architecture, fashion and plastic arts." A pioneer at the forefront of the 3D revolution, he recognizes that it's an altogether new medium with an entirely new set of geometric capacities. According to Bloch, none of his work can be created or replicated outside the world of 3D printing. Whether they're sculptures or housewares or reimagined public structures, the through line to all of Bloch's creations is hyperrealism.
While he acknowledges that his tools are ever-changing and the medium always shifting, Bloch prefers to be considered an artist drawing inspiration from the past rather than a technologist. With "Satire," he suggests the work falls in line with the long tradition of figurative sculpture that came before. Although not technically achievable by way of any traditional artistic methods, it clearly harkens back to Greco-Roman busts. Bloch describes the piece as "more perfect" than the works that inspired it due to its precision, yet the evidence of his own artistic hand outweighs the advanced technology that was called on for production. It is Bloch's vision, his interpretation, on display more so than any technology.
Most recently, Bloch's "Karosta [Kube]"— created in collaboration with Gilles Retsin—won second prize in an architectural competition from the Liepāja City Council in Latvia. A series of renderings outline a futuristic public building set in Karosta, a former military town in the south-west part of the Baltic country. The visuals depict a world almost only imaginable to a science fiction writer, employing custom-made prefabricated concrete paneling mounted on fibrous steel framing. The ensuing cubic structure is rotated around its central axis. For further strength and ornamentation, thin, yellow copper coated rebar concludes the work. It's been designed to avoid fenestration and complement its surroundings, but really it's an unprecedented exploration of design, material and the future.
A brief survey of Bloch's other notable works offers further insight into the artist's unmatched vision. 3D printed from 18K gold, "Cutlery Set" carries as much elegance as it does whimsy—the curves defining the set are both aesthetically pleasing and functional forms. "Chroma Vases" are a 3D-printed amalgamation of a SLS polyamide inner wireframe structure, MDF, PUR, polester putty, and nackre varnish. Once more, chaos matches thoughtful design and the resulting work is both unique and useful. Bloch explains that "these vases/milk jugs deliberately revolve around a certain degree of ornamental saturation which can endure the possibility of a loss in detailing or uneven distribution of the glaze while keeping its precise aesthetic." With "Smudge," a bone-like wall mounted shelf, the artist takes his easily recognizable style and demonstrates the structural integrity of his materials and process. All three of these recent works, which Bloch states are among his favorites, form an integral part of the designer's signature, while also conveying the sheer scope of his imagination. Between technological advances and further collaboration, there's guaranteed to be many more wondrous works in his future.
You can explore more of Bloch's work through his online shop, where many of his houseware items are sold.
Images courtesy of Isaïe Bloch