Frame #103 Mar/Apr 2015

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Colour is something of a design enigma. Few know exactly how to apply it; many don't dare to try.

For some it comes 'naturally' so it's only 'natural' that nature is the go-to source for inspiration. As materials innovation-and-technology specialist Natsai Audrey Chieza says: 'We've always borrowed from nature to dye and colour material artefacts, and that will not change.' What already is changing is the way we borrow from nature.


Designers attempt to capture the many forms of water as well as the glow of the night. Roos Meerman crosses traditional glass blowing with technological process of 3D printing and Coralie Gourguechon forms electroics with sheets of paper.

Guided by the power of light, Olafur Eliasson's Contact exhibition at Fondation Louis Vuitton and Jeanne Gang's glacial interpretation for Swarovski signals the reality of climate change with James Balog's photography.

Tom Dixon takes a dip into his roots as a bassist in the 80s and their influence on his design career. GamFratesi introduces the designer to watch: Ferréol Babin from Dijon, France. 

This issue's Frame Lab explores the ways creatives are experimenting in labs or farming their own pigments. Sam Bompas and Harry Parr of London studio Bompas & Parr delve into their jelly-filled adventure as experience designers.

The most viewed but overlooked part of most materials – the outside layer – receives a much deserved closer inspection. See how leading brands stay fresh by integrating design developments and technological advancements into their material finishes.

The library at the National Taiwan University emerged as a forest of lotus-flower columns designed by Japanese architect Toyo Ito.

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