[Press Release]

Inspired by the brilliant inventions of Jean-Eugene Robert-Houdin in the 19th century, the Tambour Mystérieuse embodies peerless watchmaking genius: with the finesse of a conjurer, this Louis Vuitton montre à complication somehow completely conceals its own mechanism. The hands hover on an astounding system of transparent sapphire discs; no trace of the watchworks is detectable by the eye. Prowess beyond compare, causing time to float as if by some other-worldly bewitchment.

This is a first in the luggage master’s history: a timepiece entirely created, developed, and assembled in the Louis Vuitton watch-making workshops in Switzerland. Perpetuating the prestigious institution of traditional craftsmanship, every element of the calibre “LV115” is rigorously handmade, a technical masterpiece of 115 components. The unprecedented power reserve, too, stands as testament to pure watchcraft virtuosity: 8 days – 8 hours. A tip of the hat to this lucky number, this timeless talisman. Three models have materialized: the first, a resolutely technical creation of clean, minimal lines; the second is classic, sophisticated, accented in brown or gray; the third, a supremely feminine model radiating an aura of jewelled artistry. Though such a triptych may cast the semblance of a silhouette, only the owner of the Tambour Mystérieuse holds the key to the true identity of the timepiece. For, to ensure each Tambour is unique in the world, Louis Vuitton provides a thousand and one ways to claim it as one’s very own.

From a vast spectrum of possibilities, each personality summons its own reflection; yellow, white, or red gold or platinum…diamonds, rubies, or sapphires…brilliant or baguette cut… Reminiscent of a conductor nightly bringing forth a new symphonic spectacle with his baton, the owner of the Tambour Mystérieuse weaves a myriad of choices into an original composition, in which sameness and conformity shall never hold a place. And for the ultimate chic, the watch’s oscillating rotor can be inlaid with one’s own initials, golden marquetry on an unseen sapphire heart. It is far from a mere accessory; the Tambour Mystérieuse is the very breath of a lifestyle.

Lastly, as homage to such extraordinary watchcraft, Louis Vuitton has conjured a case that itself is pure originality: a genuine trunk, prepared exclusively for the Tambour Mystérieuse in the historic Louis Vuitton workshops in Asnières. All the traditional practices are honoured in its making, every standard that has meant the longstanding success of the brand. This tiny treasure chest can also be personalized, from the choice of leathers to the lining’s colour; even the legendary LV lock, with a wave of the wand, can have a number matching that of other luggage pieces brought to life by their Monogram maker.

It is a passion for excellence that has drawn such acclaim for Louis Vuitton in the very exclusive world of fine watch-making. Only an elite few – chronometer connoisseurs and luxury timepiece aficionados – will capture the magic, the exceptional savoir-faire of the Tambour Mystérieuse.

From : Louis Vuitton

Designer : Richard Mille

Designer : Daniel Nätterdal

[Press Release]
The future headquarters of Antwerp Port Authority will be designed by the London firm of Zaha Hadid Architects. The choice of architect was made at the Port Authority board meeting on 13 January. The new Port House will occupy the site of the technical services building on quay 63.

The Port Authority aims to make its operations more efficient by centralising the administrative and technical services which are now divided between the Port House and quay 63. The new headquarters will also solve the pressing shortage of workspace in the present Port House on the Entrepot quay. Some 500 people will be able to move into the new building when it is completed in 2013.

In addition to offering better accommodation, the future Port House will contribute to further development and upgrading of the part of the city known as Het Eilandje. The brief for the new building specified that it had to symbolise the Port of Antwerp as a world port and economic driver of Flanders and the Antwerp area. It also had to be built according to the principles of sustainability.

In selecting the architect it was decided to use the Open Call for Tender procedure of the Flemish Government Architect’s team. The procedure was launched in December 2007, and nearly 100 architectural firms responded. A shortlist of five firms was chosen:

• Consortium of TV A2O Architecten / Atelier Kempe Thill / Marcq & Roba / BEG from Hassel, Belgium
• Vier Arquitectos from La Coruña, Spain
• Xaveer De Geyter Architects from Brussels
• Zaha Hadid Architects from London
• Rapp + Rapp from Rotterdam

The jury/board of directors finally opted for the proposal by Zaha Hadid Architects, because:

• The design preserves as much as possible of the dignity of the present building as a monument, adding a new object to the site;
• The board and its advisors had confidence in a team such as Zaha Hadid Architects being able to further develop the project so as to achieve a high quality end result that can act as a “shop window” for the Port Authority.

The estimated construction cost is 31.5 million euros excluding VAT and architect’s fees. This includes all the work for an office building with around 12,000 m² of floorspace for around 500 people, together with underground parking for 300 or so cars.

The new building fits in with the Port Authority’s future-oriented investment policy. At the same board meeting it was also decided to purchase four tugs as part of a renewal series of nine. And of course there will be further investments in infrastructure for expansion and renovation of the port. The various Flemish port authorities are currently holding discussions with the Flemish Government about financing for basic port infrastructure.
The new Port House forms part of a programme of improvements to the Port Authority’s own buildings. In addition to various renovation and new construction work that has already been carried out, a public call for tender has been issued for the new VTS (Vehicle Traffic Service) building beside the Zandvliet lock.

Design proposal

The design team from Zaha Hadid Architects proposed a very dynamic architecture that strikes up a dialogue with the Oosterweel road link, with the Lange Wapper bridge forming a backdrop to the New Port House. With its unique design, its facade architecture and its height of 46 metres, the new Port Authority will be an iconic building, visible from many different directions.

The concept is a free interpretation of a beam-shaped volume raised above the existing fire brigade building and supported on three sculptured concrete pillars housing the stairs and lifts. Two of the pillars are situated on the covered inner courtyard of the firehouse, while the third is located beside an external support point and consists of a panoramic lift shaft.
The new volume is oriented North-South parallel to the Kattendijk dock. The head of the building on the South side is a frame that looks towards the city and clearly marks the start of the port area.
The outside walls are made up of glass triangles, some transparent and some reflecting. These do not all lie in the same plane but are rotated slightly with respect to one another, creating an attractive reflecting play of incoming light in a reference to Antwerp’s diamond industry.

The present firehouse will be kept free of building all around, so that the four outside walls will be fully respected. As for the arrangement of the inside spaces, consultations will be held with Flanders Real Estate Heritage and the Monuments department of the City of Antwerp to determine whether open-plan offices (as laid down in the schedule of requirements) are possible, either partly of throughout.

The inner courtyard will be roofed over at the height of the second story so as to create an air-conditioned inside space. This central entrance hall will be considered as a semi-public space, with various enquiry desks (Personnel department, Harbourmaster’s Office, Planning Permission & Environment Permit office and Port Dues payment desk) integrated in the inside wall portals.

A sculptural, sloping roof unites an underground lobby with the covered inner court. Access to the underground car park is an important aspect of the overall concept, with the loading & unloading bays and the refuse handling facilities also located here. The car park has space for 300 or so cars and consists of a single underground level. The design of the square can be arranged so that daylight is allowed to enter. The above-ground layout forms part of a design project that is being carried out in consultation with the city departments responsible, with the main imperative being to “preserve the visual quality of the outside spaces in the Het Eilandje area.”

The open plan offices are indeed very open, so that office staff will have a great impression of space with a view along the various outside walls. The concept for the open plan office also allows for small areas in which to hold meetings, along with separate study offices.

Designer : Zaha Hadid Architects via Bustler

[PRESS RELEASE]
GTbyCITROËN
CROSS OVER TO THE VIRTUAL WORLDWith GTbyCITROËN, a show-car presented at the 2008 Paris Motor Show, Citroën becomes the first vehicle manufacturer to cross over to the virtual worlds: An original take on a road car, GTbyCITROËN is a style replica of a vehicle from the digital world. The car is the result of a partnership between Citroën and Polyphony, designer of the driving simulation game Gran Turismo 5 on Playstation 3. Already shipped in more than 50 million units worldwide, Gran Turismo is renowned for its quality, design and realism.
In the game, GTbyCITROËN features an electric drive train powered by a fuel cell with no pollutant emissions. It is a car designed to square up to the strongest competition.

“GTbyCITROËN shows how the worlds of virtual and real-life motoring can join together to create a truly innovative partnership. We were delighted that Citroen approached us and gave us the opportunity to combine our creative strengths to build this very special concept car. To see the car take shape in game and then for real has been a truly unique experience as our work normally stays in the digital world. I just hope I can get behind the wheel of GTbyCITROËN and drive it on a real race track!” – Kazanori Yamauchi, President of Polyphony Digital Inc and creator of Gran Turismo

Performance first and foremost
GTbyCITROËN is geared to the world of motor racing, with its dynamic styling, sculpted lines and sharp graphics. The rear end is oversized, made exaggeratedly long in order to create an effect of retinal persistence. The idea is to make the concept car even faster visually. The white-to-grey gradation on the body side further underlines this impression of continuous movement.

Top-level driving
The cabin of GTbyCITROËN, designed to seat two adults, expresses the grand touring vision behind this show-car. The on-board ambience allies premium, extensively worked materials with a more high-tech effect for the driving position.

The layout of the low driving position was dictated by driving pleasure. The aim is for the driver to be able to concentrate on the road, assisted by a head-up display clearly displaying driving information.

RACING SPIRIT BY CITROËN

Power and flowing lines
The design of GTbyCITROËN reflects a quest for optimal aerodynamic design. The show-car is a vehicle of flowing, taut lines, stretched to the extreme. The cleanly drawn sides, ribbed at the top, and the pearlescent shade of the bodywork enhance the vehicle’s sleekly muscled looks.

The determined look of the front end is enhanced by wide air intakes and clear-cut horizontal headlamps. The headlamps feature penetrating blue LEDs in order to light the road effectively and keep rivals at a respectful distance! The chrome chevrons on the smooth bonnet express the Marque’s identity.

The carbon rearview mirrors on their finely profiled supports appear to be suspended as if to cleave the air, giving GTbyCITROËN an excellent on-road stance.

The large wraparound windscreen flows seamlessly into the roof and on into the rear mobile airfoil with its exaggeratedly long shape. The fast-flowing lines create the impression of a car in perpetual movement. The whole body expresses performance and continuous movement.

GTbyCITROËN also expresses strength and power through generous volumes, (length: 4.960m, 2.080m and height: 1.090m) underlined by strongly marked wheel arches. The diamond-effect 21-inch aluminium wheels enhance the car’s sporty personality.

Exceptional handling
The interior design confirms the vehicle’s dynamic and powerful style. The interior of GTbyCITROËN, designed to seat a driver and co-driver, expresses the racing spirit of this concept. The on-board ambience allies rich, premium, extensively worked materials with a more high-tech effect for the driving position, inspired by the world of motorsports.

Looking beyond the spectacular visual effect, the gullwing opening of the two doors gives GTbyCITROËN a level of accessibility rarely seen on this type of vehicle. The driver and co-driver can therefore slip into their seats and get out on the track as quickly as possible.

The dark interior of this show-car is a surprise, compared with the light bodywork. Upholstered in black leather with subtle touches of rare materials such as copper and steel, the cabin of GTbyCITROËN is distinctly sporty.
Two padded racing seats upholstered in dark leather, each fitted with a four-point harness, enfold the driver and passenger for exceptional driving sensations. Placed low down to highlight the impression of speed, the elegant seats are a perfect fit with the rest of the interior.The top-stitched leather of the door panels and floor adds to the opulence of the interior.

The driving position expresses the spirit of competition. The design was objectively guided by the motivation to win.

The dashboard, with its clean uncluttered design, flows into the receding lines of an imposing copper sculpture. The thrusting modern lines of the sculpture become the central tunnel of the vehicle, illustrating the power of GTbyCITROËN and appearing to catalyse its strength.

Created in a twist of this same copper sculpture, the leather-and-steel steering wheel also reflects the sporting spirit of the cabin.

To promote maximum concentration, the driver of GTbyCITROËN has a head-up display for driving information. Using red LEDs, this system projects key driving information – such as speed and navigation data – onto the windscreen in the driver’s direct line of vision.

The head-up display makes a significant contribution to safety with its direct read-out. Drivers assimilate data more quickly and do not have to look away from the road.

Aerodynamics optimised to combine performance and driving sensations
Special emphasis was placed on the aerodynamics and flowing design of GTbyCITROËN, these being key Citroën values. The objective was to enhance the vehicle’s dynamics and to create exceptional driving sensations.

Looking beyond its taut, dynamic lines, this racing car features innovative equipment such as enlarged air intakes at the front, a flat underside, and a mobile spoiler and air diffuser at the rear. All these features play an active role in reducing lift and – above all – drag, to pin the car to the ground.

With its flowing lines, original architecture and its use – in the game – of what is potentially the best environmental technology, GTbyCITROËN embodies the sporting spirit as seen by Citroën and underlines the Marque’s ambitions to meet new challenges.

Designer : Kyle Cherry

The Zaragoza Bridge Pavilion is organized around 4 main objects, or “pods” that perform both as structural elements and as spatial enclosures. The Bridge Pavilion design stems from the detailed examination and research into the potential of a diamond shaped section – which offers both structural and programming properties. As in the case of space-frame structures, a diamond section represents a rational way if distributing forces along a surface.

Underneath the floor plate, a resulting triangular pocket space can be used to run utilities. Floors inside each pod are located at the Expo principal levels: +201.5m (the soffit of the bridge is at +200m, flood protection minimum level of the Ebro River at the location of the Bridge Pavilion) +203m, +206m and +207.5m for the upper level.

The diamond section has also been extruded along a slightly curved path. The extrusion of this rhombus section along different paths has generated the four separate ‘pods’ of the Bridge Pavilion. The stacking and interlocking of these truss elements (the ‘pods’), satisfies two specific criteria: optimizing the structural system, and allowing for a natural differentiation of the interiors, where each pod corresponds to a specific exhibition space.

The pods are stacked according to precise criteria – aimed at reducing the section of the bridge as much as possible where the span is longer (approximately 185m from the island in the middle of the river to the right bank), and enlarging it where the span is shorter (85m from the island to the Expo riverbank). One long pod spans from the right riverbank to the island, where the other three are grafted into it, spanning from island to left bank.

This interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod though small in-between spaces that act as filters – or buffer zones. These zones diffuse the sound and visual experience from one exhibition space to the next, allowing for a clearer understanding of the installation content within each pod. The identity of each pod remains thoroughly readable inside the pavilion, almost performing as a three-dimensional orientation device.

Spatial concern is one of the main drivers of this project. Each zone within the building has its own spatial identity; their nature varies from complete interior spaces focused on the exhibition, to open spaces with strong visual connections to the Ebro river and the Expo.

Natural surfaces have been investigated when designing the Pavilion’s exterior surfaces. Shark scales are fascinating paradigms both for their visual appearance and for their performance. Their pattern can easily wrap around complex curvatures with a simple system of rectilinear ridges. For the Bridge Pavilion, this proves to be functional, visually appealing and economically convenient.

The building’s envelope plays an essential role in defining its relation to the surrounding environment and atmospheric variations. The project has been designed to allow its interior to be thoroughly enlivened by the effect of atmospheric agents, such as the Tramontana wind blowing along the Ebro and, the strength of Zaragoza’s sunshine.

During the Expo, a single weathering layer will enclose the building to protect it from rain. This Shark scale skin will be generated by a complex pattern of simple overlapping
shingles. Some shingles can rotate around a pivot, allowing for temporary opening or closing of part of the façade. The pattern of shingles overlapping each other gives the Bridge Pavilion the widest variety of natural light via several degrees of aperture sizes: from rays piercing through tiny apertures – to wide, full size openings. Large apertures are located on the lower level, in correspondence with either end of the bridge, allowing for the greatest degree of visual contact with the river and the Expo.

Designer : Zaha Hadid Architects via Dezeen

Designer : Eric So

Together they have created design that celebrates the rich, innovative user interface using a disciplined, geometric form language thus ensuring the viewing content in a clutter free environment. The irregular back facet is a trend which can be seen in the recent contemporary furniture and architecture providing a highly recognizable design element.

Since the smart phone market is expanding at a phenomenal rate, HTC is trying to meet this demand so that it can take the internet mobile to the consumer. Also it is expanding the services to include environment, advanced fun communication. Also the exclusivity factor will be played upon to play with the ego of the customer. This new target segment is reflected in the design of the Touch Diamond and thus establishes HTC as a leader in the marketplace.

Designer : One & Co via Core77

- White gold and LV logos with digital clock, yellow diamond on white gold key.
- White gold,ostrich leather, yellow gold chain and key, blue saphir diamond.
- White gold satin polished finition, white gold chain and key, pink saphir diamond.
- White gold, black alligator leather, black PVD treatment on white gold (chemical pulverize on it), mechanical clock that you can arm behind the USBijou, and a green saphir diamond.

All USbijoux have 40Gb memories.

Designer : Fred de Garilhe