Higher Power Surge Protector
Money Talks is a herringbone patterned wallpaper we've designed that is made using one dollar bills. At just under $10 per square foot, the cost (excluding installation) is less than many conventional wallpapers. And the look, well, money talks.
Cairo Series | Display Shelving (Large)
Cairo is a new series of steel and walnut furniture that explores a recurring hexagonal pattern (see previous post). Elements include large and small display shelving, low cabinets, a credenza, and a room divider.
Cairo Series | Display Shelving (Small)
This is the first prototype of a chandelier I'm designing using T5 flourescents. Definitely needs more lights...
Happy Holidays from Higher Power...
Here is the first physical prototype of the powerstrip I’ve been working on. It is an SLS 3d print done by my friends at Parrish Rash in Lexington, Kentucky.
This cruciform surge protector is something that has been in the back of my mind for a couple of years. I’ve just finally got around to making it with some help from my friend Alan Silverman of AJSNY.
I’ve been working with my friends at PRvD to develop a line of furniture pieces. This vase is one of the first workable prototypes to come from our experiments. It is made out of CNC milled poplar tree trimmings set in a clear acrylic resin and measures approximately 12” tall and 6” in diameter. Currently we are fine tuning the production process, trying to make larger pieces, use less resin, and fabricate with less manual labor. We should have a more complete line in the next month or two.
We are working on some new seating, partially shown here in a photo by our friend Isa Wipfli
Spectacular details of an LQ chandelier at Phillips De Pury.
PROJECT CREDIT »
Asymptote Architecture: Hani Rashid and Lise Anne Couture
There are two giant LQ chandeliers at the Asymptote opening at Phillips De Pury.
PROJECT CREDIT »
Asymptote Architecture: Hani Rashid and Lise Anne Couture
Here's a pyramid version of the LQ Chandelier on display at Art Basel.
PROJECT CREDIT »
Asymptote Architecture: Hani Rashid and Lise Anne Couture
Our design for the LQ Chandelier is the latest addition to Zumtobel’s Avant Garde Collection. The form is made from a single minimal surface component that can expand infinitely via seamless edge to edge connections.
PROJECT CREDIT »
Asymptote Architecture: Hani Rashid and Lise Anne Couture
This a piece of furniture I’m working on based on Hani Rashid’s M-Scape series of work for a show on Asymptote’s product and furniture design to be helt at the Phillips De Pury auction house in the Fall. We’re looking at making it out of vaccum formed Corian at the moment.
PROJECT / IMAGE CREDIT »
Asymptote Architecture: Hani Rashid and Lise Anne Couture
Just as we were submitting our final drawings to the Bauhaus, we learned that the exhibition on piano design that we were participating in had been cancelled. This image was just finishing rendering as the news came in. The End.
This is a chandelier that we are designing at Asymptote for lighting manufacturer Zumtobel. The idea is to produce a a single minimal surface component that can expand infinitely via seamless edge to edge connections. The form is generated by a scripting process I’m developing that evolves the topology of a primitive towards particular goals, in this instance heightened refraction and a lack of undercut surfaces.
We were recently invited to submit a design for a show at the Bauhaus on architecture and piano design. As we had yet to design anything, Hani Rashid and I took a weekend to pump out this prototype design. This is the realization of our first sketches and analysis that focused on shaping the form based purely on the performative requirements of a concert grand.
Here is a quick pass at an idea I had for a parametric, actuator controlled light fixture that would recess or protrude based on dynamic inputs.
Photo by Isa Wipfli
Candelabra is a design research project I done in collaboration with David Boira and Zoe Coombes, based on the work with minimal surfaces and genetic organization I did in Bill Macdonald’s studio at Columbia. The intention was to produce a chandelier that relies on its architecture rather than its technology for its performance. The curvature of the components was optimized to refract light as well as to connect seamlessly at its edges either in plane or offset. This logic allows for multiple configurations that were in the end sampled from the refractive behavior of digital flocking patterns (very Bill Macdonald). Best of all, its black.
The pieces themselves are made from vaccum formed plastic and fiberglass, covered in tons of bondo, sanded, and finished with primer and auto body paint. They and are attached at the edges by laser cut petg plates. They were made in a very intense 4 day spell in the MOMA PS-1 workshop under the premise that we were building prototypes for their summer jam series.
Photography courtesy of Isa Wipfli.