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A shadow cloud is a three-dimensional object, consisting of multiple shadow-casting elements semi-randomly arranged in three dimensions in such a way, that depending on the direction of illumination the overall shadow of the cloud displays various images encoded in it. A shadow cloud can be viewed as a generalization of shadow casting panels, but of course the basic idea of multiple shadows from one three-dimensional structure is already present in well-known GEB-triples. However, in contrast to GEB-triplets, a shadow cloud can encode up to four arbitrary images and display them under appropriate illumination without any distortions.

The idea of shadow clouds can be summarized as follows: the shadow cast by flat, thin elements depends on their relation to the direction of illumination: elements perpendicular to illumination cast clear shadows, while the shadows of elements parallel to illumination are practically invisible. Moreover, the elements perpendicular to the illumination can be arbitrary shifted along the illumination without changing the overall shadow cast by all the elements. This allows for a random, cloud-like placement of elements in space.

http://www.drzachsuchy.ch/

MagicBeans is a playful and ironic element which will brighten up any room in the house; despite its unusual shape it is an effective hanger and the attachment points are adjustable both in number and in height.
This project takes inspiration from a tale: Jack and the beanstalk.
Jack is represented by the white puppets and the bean plant is the green rope.

The height of the hanging points can be easily changed if the user slide the puppet on the rope gently. This system is similar to the famous Flos light Parentesi.

MagicBeans will be soon put on market and you will find it in the best design shops.

Max Battaglia is an Italian product designer from Novara, born in 1980. He studied Industrial Design at the Politecnico di Milano, after graduating he immediately began his collaborations with many different design firms. During these year he had the opportunity to work for an impressive number of important clients such as Fiat Group, Telecom Italia, Pirelli Broadband Solutions and Planex. His hobbies are photography and design contests.

Léon Ferrari was born in Buenos Aires in l920.

 He is autodidact in arts. Due to family matters, he travelled to Italy in l952 and started working in art in Rome in l955. That year he made his first one man exhibition in Milan and he came back to Argentina. He made sculptures with different types of materials: ceramics, plaster, cement, wood and finally with stainless steel wires.

 “León Ferrari’s vibrant and challenging work is conversant with poetry, explores enigmas and metaphors, comments on space and form, creates music, can depict improbable cities and impugn religious and military institutions that monopolize ‘the revealed truth.’

“Today, his ink drawings, collages, sculptures, heliographies, Braille-embossed photographs, objects and installations are all critically acclaimed and in worldwide demand. Ferrari at 87 is active, sharp, working daily and enjoying a fertile creative period as well as experiencing great personal success.”

Victoria Verlichak, 2007

http://www.leonferrari.com.ar

“One Perfect Cube” created by Florian Jenett is a wall decor project that uses three clocks synchronized in such a way that they together form a sign every 12 hours for just one second. The number of constellations within 12 hours is 43200 and the geometrical composition forms for one second. Processing simulates clock multiples to ensure there are no collisions thereby formulating the geometrical compositions.

[...], “One Perfect Cube” appears as a pure form at first glance, as an animated drawing undergoing a perpetual metamorphosis, whose creator is not quite sure about which shape it is finally going to take. Or, in fact, what it was once before. How is one to know? The image is structured by nine lines, conceived from the hands of three clocks, three lines of which move across the face at one time, tick-tock, according to the same congruent rhythm, as it were, seemingly culminating in clear, minimalist forms before they get condensed into compact bodies, tick-tock, only to disintegrate promptly into particles that are chaotic, or simply light as a feather and somewhat highly poetic. A new image with every second. With each one of these utterly abstract images doubling up as a kind of memento mori.

The very obvious movement of the hands, the never ending metamorphosis of the drawing leaves no doubt about that. Like wilted tulips or a broken glass in a Baroque painting. Only that in Jenett’s originally and formally strict drawing of a garden a new surprising, at times wondrous, flower appears every single moment, no matter how short it may be. Only to disappear again in a flash. Just once, every 12 hours in fact, resembling the precision of clockwork, the original image, the actual motif is depicted in the shape of a cube, a stable geometrical form that as such, one is tempted to say, successfully withstands the metamorphoses of time and also the world. And is, tick-tack, gone.

Admittedly, not 12 hours, not 24 or even 48 sufficed to capture the image as such in its perpetual action of finding and losing itself, of consolidation and dissolution, of growth and decay, which never stops time, but changes with every new moment. Fresh and rather beautiful to behold, something that is graphically inscribed in it, and just like the drawing as a pure form and a self-contained system continues on its daily rounds. And, in so doing, unhinges itself like linear time at the drop of a hat. [...]

Excerpt from the catalogue text “Tilt! or As time goes by” by Christoph Schütte.

http://www.florianjenett.de