Virtual supermarkets are popping up in subway stations in South Korea, where commuters can virtually shop for items while waiting for the train to come. Customers simply scan an item’s QR code using the free “Homeplus” app and can have it delivered to their doorstep before they even get home. Ranked as the 2nd most hard-working country in the world to Japan, South Korea is rewarding its workers with this timesaving gem.
“4D Typography is the result of intersectioning, in an orthogonal way in space, two extrusions of the same character, which allows the spectator to read it from, minimum, two different positions in space.
An observer searching to enjoy a particular architecture, is forced to move around and through it. The change in perspective generates new spaces in which light acts in different ways. In this case, it is the typography who makes the effort of abandoning its two dimensions to approach the architectural sense. It does not resign with a third dimension; a fourth one is necessary to complete the reading possibilities. By hanging the typography, the reader is allowed to surround the characters in order to understand all their shapes.”
The team at Studio Lebedev designed the ‘Stubus’ Watch to be lightweight and waterproof. The device is banded together with high quality leather and has a circular glass face over the wood rings. At first glance, the piece looks like a small cut of a tree trunk, but if you look closer, you’ll find the second hand and the hour hand cut into the wood. A complicated device, hidden in a simple object.
PARKROYAL on Pickering by WOHA.
“Singapore-based WOHA Architects have long been advocates of the ultimate ‘green city’ – one that would be comprised of more vegetation than if it were left as wilderness – and the PARKROYAL on Pickering was designed as a hotel-as-garden that actually doubled the green-growing potential of its site. The architecture is fundamentally organic, but the fluid geometry has a loftier sense of purpose. The ascending vistas, the scenes above the external and internal spaces of the ground floor (and the fifth floor public area), whilst not spiritually preordained – the geometry is topographic, not cosmic – draw unambiguously from the heavenly gaze to be had within a mosque, a temple, or a church. It might be observed that the business hotel plays a similar role in contemporary culture to that of the cathedral in 17th century Europe, so it may not be impudent to describe WOHA’s exuberant tableaux as Baroque: just a touch of Borromini for the 21st century.”