Art & Design

https://www.fastcompany.com/91240809/pentagram-partner-paula-scher-unapologetically-defends-using-generative-ai

Via

The BMW 3.0 CSL, with which Alexander Calder laid the foundation stone for the Art Car Collection in 1975, was also one of his final works of art before his death. As a sculptor who normally devised his own shapes, Calder managed to free himself from the formal structure of racing cars and, by painting them, aspired to give them his own distinctive mark. As in the case of his sculptures and mobiles, he used intensive colours and gracefully sweeping surfaces which he distributed generously over the wings, bonnet and roof.

Born in Philadelphia in 1898, Alexander Calder started his career as an engineer, only then to follow in his father‟s and grandfather's footsteps as a sculptor. Feeling drawn equally towards art and technology, he developed his own completely unique form of sculpture, his constructions being enormous but nonetheless light and floating in appearance. He became famous for his abstract mobiles which were hailed by critics as the most innovative American sculptures of the 20th century. He died in New York in 1976 at the age of 78.

The BMW 3.0 CSL

• six-cylinder inline engine
• 4 valves per cylinder
• twin overhead camshafts
• displacement: 3210 cm³
• power output: 480 bhp
• top speed: 291 km/h

In 1975 this Art Car designed by Alexander Calder was driven in the 24-hour race at Le Mans by the American Sam Posey as well as Jean Guichet and Hervé Poulain from France. It was the first and last time the car was used in racing. After seven hours the car had to give up due to a defective prop shaft. The car has been on display since then.

Source: https://www.artcar.bmwgroup.com/en/art-car/text/Alexander-Calder-BMW-3-0-CSL-1975-1385.html

https://olympics.com/ioc/news/milano-cortina-2026-look-of-the-games-and-sports-pictograms-revealed-inspired-by-new-italian-spirit

[Architecture] Architekton | 📐 Gilles Perraudin en 4 minutes

@artdesign
www.youtube.com/watch?v=Gl-Ad1h_Az8

#architecture #architecte #vulgarisation #art #construction #architekton #rchtktn #pierre #stone #GillesPerraudin

David Coveney asks what punitive road fines tell us about who design is really there to help.

"I often wonder if our various road charging schemes in the UK are designed to help our road users, or exploit them."

Celle-ci est plutot cool, une équipe de mindflayer fan de reggae :3

I guess that if a dress does not fit, you can always just carry it

Not a bad idea, we found a way to recycle our clotche ! By carrying them ! :D

This captioned video shows catwalk footage of bulging latex garments designed by London College of Fashion graduate Harikrishnan.

The fashion show featured models sporting colourful latex trousers, which were pumped full of air to create exaggerated silhouettes of unusual proportions.

A seven millimetre-wide valve in the bottom of the garments enabled their inflation.

To complete each outfit, the designer paired the super-wide trousers with either a slimline clean-cut jacket in matching colours or a top made of wooden beads.

J'ai toujours trouvé que la mode était éclatée 🥹

Ah ça me donne envie de faire une série dessus

Représenter l’atome, un défi artistique

@artdesign

lejournal.cnrs.fr/articles/representer-latome-un-defi-artistique

Au musée d’Art moderne de Paris, près de 250 œuvres – peintures, dessins, photographies, vidéos et installations – permettent de revisiter l’histoire de la modernité au XXᵉ siècle à travers l’imaginaire de l’atome.

Les gigantesques nuages en forme de champignon qui embrasent le ciel au-dessus d’Hiroshima et de Nagasaki, le dôme métallique qui se referme sur le site de Tchernobyl, comme un sarcophage géant au-dessus d’une ville fantôme : ces images hantent nos esprits. D’autres, moins connues, comme la photographie d’une coupelle contenant du bromure de radium, prise dans l’obscurité par Marie Curie en 1922, symbolisent ce nouvel « Âge de l’atome » auquel le musée d’Art moderne de Paris (MAM) consacre une immense exposition. Au début du XXe siècle, le sentiment le plus répandu est que « l'humanité tirera plus de bien que de mal des découvertes nouvelles », comme le dit Pierre Curie dans son discours d’acceptation du prix Nobel (1905). Mais ce même Pierre Curie se demande déjà « si l'humanité a avantage à connaître les secrets de la nature, si elle est mûre pour en profiter ou si cette connaissance ne lui sera pas nuisible ».

#CNRS #atome #Paris #MAM #MuséeArtModerne