Mercedes-Benz and the upcoming “Avatar” films – what at first seemed to be an unexpected global partnership, turned into a unique interdisciplinary experience.
Inspired by the world of “Avatar”, the two partners created the astonishing VISION AVTR. In this exclusive behind-the-scenes feature, key team members from both parties share their thoughts on the cooperation process and provide fascinating insights into the concept vehicle itself.
The proposal is inspired by the experiences lived in the mountains of Costa Rica. The intimate nest form comes into communication with nature so that guests have privacy and dialogue with the space around them. Its flexible structure allows it to adapt to sloping terrain, dense forests and humid tropical climates.
The cabin includes all the electro-mechanical installations, the septic tank and the facilities necessary for its operation. The modulation of the cabins allows to make certain adjustments to shorten or enlarge the cab according to changing needs. The structure is lightweight in metal construction with an external lining in industrial zinc and internal walls in gypsum and densglass.
From the outside, London’s row houses have an eclectic variety of ornament, and they range in scale from palatial to boxy. But inside, they are pretty much all configured the same way. That’s because from the late 17th century up until the First World War, most residential buildings here cleaved very close to a model found across English cities: the terraced house, known in its most condensed, emblematic form as the “two-up, two-down.”
For a city that’s long been the repository of vast commercial, imperial, and industrial wealth, this might seem a very modest template. However, it is one that can be easily scaled up, points out Edward Denison, associate professor at the Bartlett School of Architecture and author of The Life of the British Home: An Architectural History.
“What’s extraordinary, in London in particular, is that you can find very grand houses in places such as Carlton House Terrace, with vast rooms and very high ceilings, that are still essentially two-up, two-downs with extra floors added,” says Denison. “Then you go to working-class terraced housing in places like Greenwich, and find a very different scale and quality of fittings, but essentially the same configuration.
On May 22nd (1930), Battista “Pinin” Farina founded Carrozzeria Pinin Farina in Turin. The company was designed to build special car bodies for individual customers or in small production runs. The Corso Trapani plant had 150 employees on a covered area of 9250 square meters. In June, the following news appeared on an automobile periodical: “And now the popular nickname “Pinin” used by the whole of the Turin motoring world when talking about Battista Farina, was officially about to become used throughout the country, as a result of the recent Company changes which led to the founding of S.A. Carrozzeria Pinin Farina“. At the Paris Motor Show Pinin Farina exhibited Lancia, Alfa Romeo, Isotta-Fraschini and Fiat cars. The Lancia Dilambda, the first official Pinin Farina special, appeared at the 1931 Concours d’Elegance at Villa d’Este. His first accomplishments in the 1930’s included the Hispano Suiza Coupé and the Fiat 518 Ardita.
In the Thirties the car was a good that was reserved for a minor élite, almost a plaything for a narrow circle of bold, blasé youngsters. Yet Pinin felt sure that these unlikely, noisy jalopies, which also happened to be expensive, would change quickly to become outstanding and entirely respectable tools of individual mobility. One of the early ads says: “Luxury and grand luxury cars”. Cars were destined to ruling houses, diplomats, maharajahs and even some Middle East sheiks who were beginning to collect some of the first oil royalties, for actors and actresses, more foreigners than Italians. Pinin wrote: “In September I sold a Dilambda spider cabriolet to the Queen of Romania, I began to have some of the nobility amongst my customers”.
Pinin immediately embraced the cause of modernity and aerodynamics. In his view, it was the most natural way (in so far as it was the most respondent to the “nature” of the object) of solving the problem of the autonomous and original formal identity of cars. Aerodynamics, he was to write in his memoirs, was the “form of speed”. At the 1935 Milan Motor Show Pinin exhibited the Alfa Romeo 6C Pescara Coupé aerodinamico. One year later, the Lancia Astura Cabriolet tipo Bocca: elegance and craftsmanship for a small series of streamlined, richly finished cabriolets which introduced the unprecedented notion of the legitimacy of making a certain number of replicas of a custom-built model. Then the Lancia Aprilia Aerodinamica was built, a revolutionary berlinetta where an astonishing Cx of 0.40 was intuitively and empirically achieved. Aerodynamics was no longer a symbolic element, a metaphor of speed; it had now become a real standard of efficiency.
Gweilo is a new collection of custom lights by PARTISANS. Inspired by the idea that light itself could be harnessed and manipulated to create a physical sculpture, PARTISANS developed a design that alters light at its source. Gweilo reimagines illumination to architectural effect.
As spectral sculptures that fold and bend like light rays themselves, the pieces function as accents, dividers, or centerpieces, gracefully delineating space to create an
Each Gweilo light is handmade using thermoforming, a technique that allows etched optical grade acrylic sheets to be custom-shaped while they are still in their hot plastic
state. The sheets are heated to just under 400°C, at which point they become molten and pliable. They are immediately removed from the heat source and sculpted to produce a
variety of distinct folds and curves. When the metal extrusion containing an embedded LED strip is affxed to the cooled sheet’s edge, light is diffused across the etchings, amplifying the luminescent output. The result is an infnite set of silhouettes and sizes that emulate the vital movement of light.
With just four tables, a few counter seats and no reservations, getting a spot at Kiln can be a challenge. But it is one that is absolutely worth the wait.
Chosen as the UK’s Best Restaurant in the 2018 National Restaurant Awards, this Soho hotspot specialises in a roadside barbeque style of Thai cooking. The kiln it is named after is the hulking stove which dominates the restaurant. On it sits countless rustic claypots from which wafts a tempting mix of palm sugar, sweet basil and hot charcoal.The 22 seats along the steel counter are the best in the house, as you can watch the chefs scrupulously chopping, flipping and searing ingredients – most of which have been picked or caught just a few hours before.
At less than £7, the baked glass noodles with Tamworth pork belly and brown crab meat is probably the best value dish in London.