Augmented reality's next step, tested in a recent media campaign for History Channel's Vikings
If you live in New York City, you might have seen big ads for the History Channel's "Vikings" program on bus shelters and phone kiosks; if you've noticed fans waving their cellphones in front of them, it means you've also spotted BPG's "Ultimate Reality" in action. Working primarily with TV shows and film studios, the LA-based agency is behind integrated campaigns like an alternate reality journey for Showtime's "Homeland" and a website for the fictional company Omnicorp to promote the "Robocop" reboot. To promote the new season of "Vikings," BPG worked with photographer Nels Israelson to take augmented reality (AR) technology to the next level.
AR technology—which has been around for some time now—can be used by smartphone apps to add another visual dimension to what the camera captures. In Google Sky Map, the app connects the constellations your smartphone sees in the sky; when reading a book or playing a board game, you could hover your phone and see animated characters pop out of thin air. "The reason why we had to call it something different [than AR]—we call it 'Ultimate Reality'—is because we really wanted to distinguish the new step in the technology versus what's out there right now," Steph Sebbag, President and Chief Creative Officer of BPG, tells CH. Traditionally the image that pops up in your device has been generated by 3D computer graphics, from scratch. Instead, Israelson wanted to make the AR experience even more "realistic" by incorporating humans through photography, which is a first.
BPG made the trek to Ireland—where the show is filmed—and set up 63 8K-resolution digital cameras to capture every angle possible angle of the 10 different actors in Viking costumes. This 3D photograph is then turned into a 3D model, which allows it to have the AR possibility. By opening the Ultimate Reality app, fans can scan the flat image and then can take photos of themselves next to a 3D viking or study the character up-close and in detail.
Remarking on the decline of print, especially in advertising, Sebbag says, "One of the big questions, what is the bridge between print and interactive—how is print going to evolve in that way?" He offers a future scenario: a well-known actor will appear in a poster for an upcoming film; you hover your mobile device over the ad (using the app) and have the actor come to life, moving and speaking—perhaps even with a personalized message. "Right now, we have this three-dimensional static image," Sebbag says. "Having these characters come to life and talk and move is where this technology is going to head." This becomes an exciting space when thinking about how other industries, like fashion or sports, might also take advantage of this technology.
Experience the new technology by downloading the app (available for both Android and iOS), then visiting the Vikings' Ultimate Reality webpage to test it out. New episodes of "Vikings" premiere on the History Channel on Thursdays, 10/9C.
Screenshots courtesy of the History Channel, all other images courtesy of BPG
The grandson of famous designer couple Charles and Ray Eames on the colorful new update on their iconic shell chairs and his global art project
by Julie Wolfson in Design on 15 April 2014
In the garden of the Case Study House, Eames Demetrios—grandson of Charles and Ray Eames—settled in a shell chair to share stories of his family heritage and legacy, architectural preservation and the world travels he undertook to create his epic global parallel universe installation project Kcymaerxthaere. A few weeks earlier, Demetrios had worked with Herman Miller to furnish the Carondelet House built in 1928 near downtown Los Angeles to display the way the entire Herman Miller collection works together. The colorful dining room set up, filled with Eames shell chairs, showed off the colors of their newly updated sustainable materials.
Looking out toward the Pacific Ocean from the Case Study House, located in the Pacific Palisades on a mostly hidden street with the Entenza House, Neutra’s Bailey House and Walker’s West House, our conversation with Demetrios began with a discussion of the Eames furniture material innovations.
There is a photo of your mom sitting in one of the new shell chairs on the Herman Miller #shellspotting page. Why is that image significant?
The reason that was an important moment is that it was a little bit the changing of the guard. The other part of the story is that Herman Miller was waiting for that photo too. They understand what authenticity is about. It’s about people making the decisions that Charles and Ray asked them to make. These are solutions for everyday houses. People should buy these chairs because they are comfortable and they work for them.
To the extent you have a design style is the extent to which you have not solved the design problem. They just tried to solve each problem the best way possible.
Now the chairs are made with a more sustainable material. What was the process for updating the chairs?
Glues have gotten stronger and also more environmentally friendly. The new sustainable fiberglass addresses a lot of things that were wrong before. Charles and Ray were designing this house at the exact same time as they were designing this chair. To me it really proves the point that Charles would make; that to the extent you have a design style is the extent to which you have not solved the design problem. They just tried to solve each problem the best way possible.
Why do you feel the shell chair design has remained vital though the years and still looks timeless?
They said the first time they encountered plastic reinforced with fiberglass was when they made the screens for the Eames House. That led to speculation and conversations, and research they did eventually led them to make the chair out of it. The point is you would look at this chair and this house and say they are very different, but in Charles and Ray’s minds, they had a lot more in common. They both have an honest use of materials that they were so good at. They had this idea that making this seat and back together would be a way to make it an affordable high quality chair. They discovered this plastic material. Plastic itself was not strong enough at that point to support the body so it was reinforced in fiberglass. They were constantly improving it. The design process continued after they went into production.
Why update the materials now?
Over time, at the end of Ray’s life, she became concerned about the environmental aspects. There were toxins in the resin and there was a way that the fibers could get into the air. She asked Merman Miller to discontinue it in the early '90s. The last shell chair sold was in 1992 or '93. We reissued them in polypropylene in about 2000. The new eco-friendly fiberglass has that fingerprint, snowflake thing. They look basically the same, but when you look closely the grain is a little bit different.
How did you find the new material and process for making the chairs?
The folks at Herman Miller found out about a monomer-free resin that was mostly used for the interiors of cars. The research we then had to do was how to keep a uniform experience color consistency in this non-toxic material because in general the toxins make things easier. It’s so exasperating. It’s like dessert; it always tastes good. The other aspect of the fiberglass is the fibers itself and the way they go onto the mold. It’s now dry-spun. So it is a slightly thicker fiber, but it does not get out into their air nearly as easily. The way it is attached is that it is heated in such a way that it bonds with itself and is not so dependent on the resin to literally hold it together. It solves our goals. These chairs went into production for the market in early February. The event we had at Carondelet House was the first time people on the West Coast had seen them.
What drew you to committing time to the family business?
I did a film called 901 about closing the Eames office in Venice. When Ray died, I realized that the place needed to be documented. It was in the process of doing that documentation that I learned this work matters to me in a way I did not quite expect. What always interested me the most about Charles and Ray’s work, even as a kid, was the ideas and the thinking behind it.
For me, the Eames work isn’t about me, but I’m good at making sure it is done right.
How do you personally balance your work with the family legacy and foundation with all of your other projects?
It’s good to have things in your life where it is about you and other things that are not about you. So for me, the Eames work isn’t about me, but I’m good at making sure it is done right. My own work is about doing the things that I have to contribute. Right now, it’s very much about Kcymaerxthaere.
You describe Kcymaerxthaere as a parallel universe and a global project of collaborative installations. What are your current goals with Kcymaerxthaere?
For me, Kcymaerxthaere has been a really great way to tell stories and give people a visceral experience, but one that is not so dependent on a specific ecosystem. When I create a story in Kcymaerxthaere, there is a real direct drive moment. The challenge is that I still feel like I am not at the critical mass. When I started I thought it was going to be 125 to 150 sites, now we have 99 in 22 countries. The project will be complete when most of the world’s population is within a day's drive from a site. I want it to be a physical analog experience that is accessible to most people. It turns out to be about 900 or so.
Why are we going to save the world if it is just in the way?
Why such a global project?
We have gotten to a place where most of us would teleport if we could. That just means that the world is in the way. Why are we going to save the world if it is just in the way? For me, it has been an incredibly rewarding project to do, to see how people react and for myself to be able to share stories in a public way that is different than a book; but it has some of the magic of reading, in that you conjure it up for yourself. Right now we are doing a pretty elaborate one, an underwater labyrinth in Indonesia. It’s going to be at a depth where a snorkeler will be able to have a good experience and a diver will get another experience. It is going to have a story that you can decode under water.
The Eames Case Study House continues to stand the test of time with the dedication of the Eames family and foundation. The past, present, and future seem to be filled with inspiration and possibility. The newest incarnation of the Eames Shell Chair as well as other timeless Eames designs are available from Herman Miller and Design Within Reach. Follow Eames Demetrios on his epic Kcymaerxthaere journey by visiting its website.
Carondelet House images courtesy of David Lauridsen, portrait and Kcymaerxthaere images courtesy of Eames Demetrios, images of Case Study House © 2014 Eames Office LLC courtesy of Timothy Street-Porter
Vibrantly hued settees poking out from the mass of furniture found at this year's fair
Delicate, subtly hued earth tones pervaded seemingly every facet of design in almost every pocket of Milan last week. But the Salone Internazionale del Mobile and its numerous offshoots weren't wholly packed with rich pastels and copper-congruent colors; like Americans' favorite (and impossible to find in Italy) gelato topping, bright bits of color were sprinkled around, most noticeably in the sofa sector. Here are six vibrant settees that stood out among the masses during Milan Design Week 2014.
Created for Kvadrat in 1984 by Danish painter and graphic artist Finn Sködt, the Divina textiles collection has always kept bold colors at its core. This year, for an exhibition during Milan Design Week, the iconic company tapped 22 contemporary designers to reinterpret this classic, felt-like fabric. While the resulting one-off concepts all lured in observers through various forms of artful application, the daybed by Belgian duo Muller Van Severen really showcased the Divina fabric's texture and brilliant tint through an attractive, simple silhouette.
The exciting Wrong for Hay collaboration continues, with the former Established & Sons designer director Sebastian Wrong at the helm of their joint venture. While the beloved Danish design outlet Hay often partakes in furniture fairs, this was the first time they've exhibited in Milan since 2008, and with the addition of a shop-able Mini Market, the Hay and Wrong for Hay showcase was not to be missed. The WH Hackney sofa was on display as both a two-seater in a deep bold blue Divina Melange as well as a three-seater in a slightly flashy grass green Kvadrat Steelcut textiles.
The simple switch of upholstery was enough to confuse the eye, but the extra cushion and elongated form of the three-seater turned these into two different sofas both built upon the same foldable frame. Both versions of the Hackney Sofa speak to Wrong's mission to create accessible, straightforward furniture that is as aesthetically pleasing as it is functionally comfortable.
Maarten Baas didn't just exhibit a few new pieces of furniture this year. Instead, the imaginative Dutch designer conceptualized an entire satellite project area with "Baas Is In Town"—a circus act complete with fun mirrors, swinging chairs, hipster clowns and even an entertaining sideshow (which displayed works from Baas and his peers). Woven into the larger spectacle was furniture by Baas, including an amorphous Bench. The organic shape, surprising color combination and mix of fabrics lends it a slightly awkward feeling, but a welcome one indeed.
Renowned London-based designers (and the duo behind the 2012 Olympic Torch), Edward Barber and Jay Osgerby played to customized sitting positions with Mariposa, a vibrant two-seater sofa for Vitra. At first glance, the couch appears as a traditional upright structure in a soft, velvety fabric. But the back and sides can be flexed outward in a 30-degree angle, allowing two people to rest in different ways; someone working can remain focused while another can comfortably lounge.
Patricia Urquiola was as omnipresent at Salone this year as the little red trolley bags seen trailing behind fair-goers. The Spanish designer applied her talents across a range of brands, from polycarbonate tableware for Kartell to folk-inspired rugs for Gan to a stunning outdoor "roll" chair for Kettal. For Moroso though, Urquiola created a modular sofa system that truly allows you to interchange the parts beyond typical setups. The sofa—dubbed "(love me) Tender"—rests on an aluminum frame with round wooden legs positioned so that the couch appears to float. But the legs are actually pillars that can be easily rearranged to create different seating arrangements. The standard sofa and chaise can be pulled apart to become a two-seater in which people can face each other, put back together so they can have their backs against one another or formed into the now-classic L-shape.
Images courtesy of their respective brands; Maarten Baas image by Karen Day