Modern cuisine: 3 trends, 33 examples

Modern cuisine: 3 trends, 33 examples

Modern cuisine: 3 trends, 33 examples

The layout of the kitchen, combined with the living room and dining room, is still relevant. Manufacturers of kitchen furniture are sensitive to this demand, and the kitchen design is indistinguishable from the living room furniture.

Modern cuisine: 3 trends, 33 examples

The layout of the kitchen, combined with the living room and dining room, is still relevant. Manufacturers of kitchen furniture are sensitive to this demand, and the kitchen design is indistinguishable from the living room furniture.

Modern cuisine: 3 trends, 33 examples

Designer Didier Gomez. View from the dining room to the kitchen.

Modern cuisine: 3 trends, 33 examplesThe custom-made kitchen and refrigerator are covered with polished gold leaf. Paired black ceramic vases, diz. Dal’Olio. The chairs of the 1930s.

Modern cuisine: 3 trends, 33 examples

Designer Mike Shilov. In the flock wallpaper Rubelli looks effectively photo A. Julien. The dining room and kitchen are designed according to R. Dordoni’s design – for Minotti and Ernestomeda.

Modern cuisine: 3 trends, 33 examplesDesigner Olga Mal’eva. The kitchen is combined with the living room and is located on both sides of the entrance. Kitchen modules Leicht look like luxurious chests of drawers.

Modern cuisine: 3 trends, 33 examplesThe kitchen is an organic component of the front half of the house. Designed by designer Olga Amlinskaya specifically for the apartment.

Modern cuisine: 3 trends, 33 examplesThe author of the project is Vyacheslav Khomutov. Kitchen – an organic continuation of the front half of the house. Kitchen furniture Varenna / Poliform.

Modern cuisine: 3 trends, 33 examplesDesjeux Delaye. Associations with expensive suites enhance the finishing materials: Carrara marble, brass inserts, velvet upholstery, fine wood veneers.

The layout with the island is popular. Often it is combined with a bar counter, parallel to it or perpendicular. It is a good idea to place the built-in vertical columns with appliances and showcases separately from the horizontals of the lower bases.

Trend miniliving gives rise to a new approach to space design. Now the kitchen is able to fit in the closet, while retaining the functionality. Modern technology hides behind the facades and even integrates into the countertop. For example, the kitchen hood can be built into the lower cabinets, especially the space above the hob.

Designer Anna Smolyakova: apartment for yourself

Designer Anna Smolyakova: apartment for yourself

Anna Smolyakova designed a small two-room apartment in a typical house on the outskirts of Moscow. Area – 50 square meters. meters. “The main thing in it is the décor, which is built on a variety of ornaments and graphics,” Anna says. – The main idea is to present the interior in a multicultural trend that combines modern style and ethnic details.

By topic: Tatiana Minina: redevelopment of the former communal apartment

Pluses of the project: a lot of greenery, green plants and a special interest in unusual decor. Eco-friendly finishing materials were selected: non-woven wallpaper, parquet board, linen textiles, veneered doors, kitchen from MDF, LED lighting.

Designer Anna Smolyakova: apartment for yourselfVintage chairs and armchairs – RepeatStory salon, Geniuspark sofa, author’s paintings and ceramics.

Designer Anna Smolyakova: apartment for yourself

Pluses of the project: a lot of greenery, green plants and a special interest in unusual decor.

I wanted to bring a sunny holiday mood and a holiday that will give every day an interior in a typical house. Especially when the climate is gray. Of course, not without a small redevelopment: they moved the doorway to organize storage in the corridor and expanded the bathroom to accommodate the washing machine. “

Designer Anna Smolyakova: apartment for yourselfKitchen. The curtain pattern rhymes with the wallpaper graphics in the living room.

Designer Anna Smolyakova: apartment for yourself

Designer Anna Smolyakova: apartment for yourself

Lamp in the living room and monkey lamp Eichholtz, decor Barcelona Design.

Designer Anna Smolyakova: apartment for yourselfOf course, there was a small redevelopment: they moved the doorway to organize storage in the corridor and expanded the bathroom to accommodate the washing machine.

Designer Anna Smolyakova: apartment for yourself

Interior designer Anna Smolyakova created for herself, having received an apartment as a legacy from her grandparents. But then I decided to live there, having moved to another area, closer to work.

Designer Anna Smolyakova: apartment for yourself

According to the first education the author of the project is an artist-ornamentalist and in her own interior she showed her courage in applying a rich color. The ceiling height is 240 cm, but the apartment looks fresh and bright. “Due to the texture of the small picture there is a feeling that you are walking through the air, the black and white ornament interacts with reflective materials and visually expands a small area. The motto of the project and the thesis: purity, color and ornament. “

Designer Anna Smolyakova: apartment for yourselfThe main idea of ​​the project is to present the interior in a multicultural trend that combines modern style and ethnic details.

Designer Anna Smolyakova: apartment for yourselfBright details in textiles maintain a general mood. “I wanted to bring a sunny holiday mood and a holiday that will give every day an interior in a typical house,” – says the designer.

Designer Anna Smolyakova: apartment for yourselfIn a small room, the designer left the necessary minimum of objects creating comfort: a cozy armchair, chest of drawers, a small coffee table, a folding sofa.

Designer Anna Smolyakova: apartment for yourselfKitchen. Compilation of simple objects in the general style of the apartment.

Designer Anna Smolyakova: apartment for yourselfDesigner Anna Smolyakova.

Which fonts are better for using complex data?

The translation of Jonathan Hofler’s printer’s material about how to make presentations, annotations, reports and other official documents is understandable and enjoyable for reading.

Commodity calculations, packaging, financial reports and applications present a huge amount of data to readers. Below are several ways to quickly deal with long lists, tiny notes and a lot of columns with numbers.

Which fonts are better for using complex data?

Font designers work with very different client base, however, in our conversations there are always common themes. It seems that a trend has emerged in the world for complex typography, and designers everywhere face difficulties, especially if their task is to present the reader with diverse but equally competing data for his attention.

We are working with an agency that is developing an image for a fast-growing consumer goods brand. And with a full-time art department creating a website with a responsive design for presenting complex financial statements on it. And with a graphic designer-freelancer working on an image for a local coffee house and discovering the pros and cons of the digital menu.

And incorrectly selected font can drive any designer into a dead end, and the right one, on the contrary, can greatly help. Below we will describe some of the things that our clients have to consider when they face complex typography and some typographic strategies that will lead to success sooner.

Strategies for small fonts

Often information can be presented in the form of data and notes. The web form should be presented so that the input field is different from the signature for the input field, the chart should not only have labels for the X and Y axes, but, more importantly, a verifiable reference to the data source.

The simplest and most obvious way to establish such a hierarchy is through the font size, using a significantly smaller font to separate the text content from the notes.

But if the font size is made smaller than the main text, then even the most legible font will be difficult to read, the distance between the letters will be too small, the inner letter clearance is too narrow, and the height of the lowercase letters is negligible. Compare the small fonts in these two examples.

Which fonts are better for using complex data?

Fortunately, the fonts were specially adapted for web pages and show themselves well on any device. Font Family ScreenSmart It was created in order to fill the shortcomings of a small size.

Above are two types of layout where the Whitney font family is used, and on the right for a small print under the graph is Whitney ScreenSmart. Fonts ScreenSmart always give greater clarity, they are more comfortable to read, which means they are perfect for small spelling.

Working with lists

Small font – the curse of typography, and it’s not only in its size, but also in a large amount of information. Clarifications, declarations of liability and lists of ingredients are most often ignored by readers, but they can be attributed to the most strictly regulated parts of any typographic object, and therefore this content is carefully looked through.

Raise your hands to those who have ever received a request from the legal department to make a few more suggestions in the text after the design has already been approved. Raise up your hands if it was not a request.

Which fonts are better for using complex data?

The first thing that a non-designer comes up with is to take a font that is narrowed by the principle: the narrower the letters, the less space they will occupy. However, it is almost always better to go against intuition and choose a wider type of font, and then set a smaller size for it with a closer arrangement of letters to each other.

Wider letters have more comfortable proportions, they are located with a large interval from each other and with sufficient letter-space gaps, and all this makes them an easy-to-read option.

Above are two lists of ingredients in the font Gotham: left admissible Gotham Condensed, and on the right is much more attractive Gotham Narrow. Tip: For maximum legibility of the font, you should use a wide font not only in the main text, but also in an additional font ScreenSmart.

Working with a set of characters

Imperceptible notes – this is a chance for the designer to show his creativity, as well as an occasion to try the brighter characters from the set of signs. The indexes of footnotes, beginning with an asterisk and a cross, sometimes become a pleasant addition to the dry content of the footnote itself. But if the document has more than three footnotes, it is better not to use them.

With symbols such as *, † and ‡, users are still sorted out, but with their repetition like **, †† and ‡‡ – or §, || and # depending on what you are used to in your company, it will be harder. If there are more than three footnotes in the text, it is better to follow all the clear numbered list in the upper index.

Chronicle Text Grade 2 Pro

Superindexes are included in each font H&Co, which has a version of Pro, as well as they are in Gotham, Ringside and Inkwell. Tip: In the text, note footnotes with the help of superindexes, which rise above the capital letters. But in the footnotes themselves it is better to use the numerator, because it is located below. So the link between the numbering and the text of the footnote is better visible, and the footnotes are more clearly visually separated from each other.

Figures, numbers, figures

In the same Pro sets except for superindexes and numerators, there are tabular or monospaced digits, this is the most important digital part of any font. Unlike the traditionally proportional characters of any font, whose width varies depending on the natural form of each number – 1 – always narrow, and 0 – rather wide – the table numbers have the same width, so the width of the columns in which they are located always coincides.

Table numbers have a second important characteristic: their width does not change depending on the font’s saturation. In the ordinary font, everything is arranged differently: there the more saturation, the wider the symbols.

This is one of the main characteristics of tabular figures, known as "duplexing", because it allows designers to select individual lines in bold, without violating the width of the column.

Tip: the very word “tabular” can mean complex tables in applications to annual reports and disclosure of financial information, but do not forget that often a huge number of figures appears in other contexts.

Tabular numbers are important, for example, for menus, catalogs, directories, and generally for everything where prices, statistics, account numbers, points or any other data dynamically changed online.

Any digital experience with variable figures, for example, stock prices, sports scores, commodity code of the goods, exchange rate, flight numbers, schedules, requires the use of tabular figures. So it’s better to work with tabular figures from the very beginning of the project.

Creative choice

Advanced digital symbols, like table numbers and superindexes, are not the prerogative of commonly used font families, and in general not every project requires rational serif or sans.

When the complexity of the project requires a reliable font, and the theme of the project implies an individual approach, it is better to look for non-obvious fonts that have additional digital capabilities.

For example, handwriting Inkwell has everything you need to convey the subtleties of content, while it looks less strict, which means it is more suitable for areas such as entertainment, retail, catering, arts, pediatric care, and even philanthropy.

Tip: if you plan to use symbols of the same saturation in tables, you should pay attention to such fonts whose numbers have the same width, and where they are not duplicated by saturation (usual – bold).

In our collection Numbers there are fonts Indicia, Claimcheck, Revenue and Greenback, in which the numbers are the same width, the same with interesting figures in any saturation in the font Inkwell Blackletter.

Individual advertising and information materials of the brand

The last contribution to visual communication is usually done not by designers, but by software. Often these are text editors, spreadsheets and programs for creating presentations that should be spoken by the organization, but they lack the tools to do it properly. For such projects, we created Office Fonts.

Office fonts are an adaptation of frequently used fonts from H&Co, specially created for use in business solutions such as Word, Excel and PowerPoint. These are the same font families whose ScreenSmart The version is well used for small text and whose professional character sets are suitable even for the most complex data.

We rethought a set of Office fonts for use by non-designers, and limited each of the included family of fonts with just four shapes (direct, oblique, fat and bold oblique). In addition, this set contains only tabular figures to avoid typographical failures that might go unnoticed.

And yet these fonts are uploaded to the format TrueType For maximum compatibility, even with the oldest operating systems.

Tip: if the brand communications ultimately will occur through reports, proposals, regulations and presentations, it is better to develop these documents from the very beginning with Office fonts in order to take advantage of their unique characteristics.

“I do not like trends”: 9 questions to Karim Rashid

"I do not like trends": 9 questions to Karim Rashid

Designer Karim Rashid (born 1960) designed thousands of objects and received hundreds of international awards. His name became a household name when talking about popularity, marketing response and the widest specialization (or lack thereof) in design.

Can you call yourself a perfectionist? Absolutely for sure! I work with modern culture as a sculptor. I am a designer, an artist, a nonconformist, a perfectionist – so I am adjusted to life. And I’m impatient, hardworking, optimistic, loving, generous, kind and scrupulous.

When you start work, do you immediately imagine the result? It often happens that I have much more ideas than customers can implement. I do not like half-measures; since I came to this world, my task is to give my best, to contribute as much as possible. If I have started the project, it must have some kind of zest. It is very important for me that, as a result of the creative process, things appear that will bring about a sensual response that people will enjoy with pleasure. I myself use my products, so I know what I’m talking about.

"I do not like trends": 9 questions to Karim Rashid

Karim Rashid: “I constantly observe, analyze. I’m thoroughly researching everything around, in our artificially created environment. “

Do you need any special conditions, atmosphere? The most difficult is complete freedom of creativity. The more requirements, wishes from the client, the easier: they stimulate new ideas. A striking example of this is Rich’s premium brand and its RichCrystal line, which was supposed to be a stylish solution for bars and restaurants. There are many packages of juice for every taste and color, it is very difficult to come up with something really new. However, after studying and working out the options, we managed to create a minimalistic image with the Rich team, a kind of degeneration of the classical form. The bottle does not have sharp corners, so it is easy to take, it is pleasant to the touch. Now it’s not just an unnamed juice in a faceless glass, but an exquisite premium drink.

What are the main trends in interior design? I do not like trends and I do not really like the word “style”. The digital transformation of our world has led to the fact that because of the overabundance of visual information, we have lost the depth of perception. We do not see the whole landscape, but as if we are looking at it from a small window. In the pursuit of trends, many designers imitate the style. For example, industrial chic is already everywhere, it does not have its former originality. We can say that now we live in two worlds. One of them is artificial, kitsch optical illusions, and the other is a real digital world. Design should be part of modern culture, rather than fixate on style and trends.

"I do not like trends": 9 questions to Karim RashidKarim Rashid: “I respect genuine antiques, I am inspired and admired by him, but what I do not like is the imitations of the past, copies and fakes with which the world is filled.”

You said that you do not like “classics”. That is, in your opinion, what will never go out of fashion does not exist? I have nothing against antiquity. I just do not believe in reproductions. We constantly produce new items in an attempt to get closer to the past – a past in which we have never lived. If you were going to buy a car today, would you choose a horse with a cart? And if you needed a gadget to listen to music, would you buy a radio set?

From what is it definitely time to get rid of? Get rid of tasteless souvenirs. Less is better! Once again, check yourself that you really want what you are going to buy. I myself am not an anti-consumer, but I think it’s important to consume wisely. Buy only what you really need.

Can you name three things that will instantly transform the interior? Strive for order. Arrange everything in an even line: all objects, vases, books, columns. Order inspires. Order is Zen, it relaxes. Forget about the curtains: from them no use – one dust and dirt, because of them the room looks cumbersome. Buy instead of them Roman curtains. Hide all kitchen utensils. The kitchen should be minimalistic and beautiful. Only the most necessary and interesting things should remain on the surface. All the rest must be removed.

Do not clutter up space. If you have hidden something, you will not use it any more. Get rid of this.

"I do not like trends": 9 questions to Karim RashidKarim Rashid: “I am a designer, an artist, a nonconformist, a perfectionist – so I am adjusted to life. And I’m impatient, hardworking, optimistic, loving, generous, kind and scrupulous. “

Do you have idols or people who inspire you? Please, here is the whole list: Luigi Colani, Ettore Sottsass, Joe Colombo, Philippe Starck, George Nelson, Charles Eames, Isamu Noguchi, Ross Lovegrove, Bruno Munari, Carlo Molly, Gaetano Pesce, Victor Papanek, David Carson, Frederic Kisler, Shiro Kuramata , Buckminster Fuller, Zaha Hadid, Oscar Niemeyer, Toyo Ito. Of contemporary artists – Dalek, Dutchman, Jeff Koons, Peter Haley, Andy Warhol, Herold Miller, and that’s not all …

What advice would you give to designers? Design is working with modern conditions to shape the future in which a person will exist. The point is to create something qualitative, improved, moving us forward. Young, I always give such advice: “Be smart, patient, learn to learn, learn to be practical, but do not forget about poetics. Look for new ways of expression, new meanings, new aesthetics, experiment with new materials, create new paradigms. But always remember the obvious human needs that the product must meet: emotions, ease of use, technological advantage, humor, positive energy, dignity. “

Triennial of architecture in the UAE

Triennial of architecture in the UAE

Curator Sharjah Architecture Triennial Adrian Lahoud.

Sharjah Architecture Triennial will begin in November 2019 in Sharjah, UAE and will be the first such event for the Arab world. The curator of the festival is the dean of the Royal College of Art Architecture, Adrian Lahoud. “The rights of future generations” – so the theme sounds, it is about the rights that are passed from one generation to another, and the role of architecture in this context, with an emphasis on the Arab world.

According to Lahoud, the expansion of human rights, which is observed everywhere, has not coped with inequality and long-standing problems in the field of the environment. Attention is given to individual rights: health, education and housing, which overshadowed environmental rights and collective responsibility. “The rights of future generations” is a proposal to radically rethink the fundamental questions of architecture and its ability to offer alternative ways of existence. “

Creative coworking in the Center for Contemporary Art

The Center of Contemporary Art in New Orleans opened the workspace The Shop.

The Shop is a joint working space of more than 3,700 m², consisting of several private offices and a coving area. It is located on the upper floors of the Center for Contemporary Art – in a historic building and former warehouse space – and has become one of New Orleans’ most important cultural institutions. Designed by the well-known architectural firm Eskew + Dumez + Ripple The Shop has become not just coworking with several private offices, but turned into a community of entrepreneurs, companies and organizations that influence the cultural and technological development of the city.

Creative coworking in the Center for Contemporary Art

As of May 2018, 90% of private offices are leased, and the number of members "flexible" workspace Commons increases every day. For private professionals, The Shop is an opportunity to expand your business in a progressive workspace and work in the neighborhood with leading design and media companies.

Creative coworking in the Center for Contemporary Art

Recently, space was awarded Design Design Award from the American Institute of Architects (AIA) in New Orleans.

Creative coworking in the Center for Contemporary Art

Every year, the AIA celebrates the best buildings, spaces and people behind them. The choice of a building with the best modern architecture does not depend on the budget, size, style or type of construction. As part of the ceremony in 2018, The Shop was awarded in the nomination "Interior Architecture Honor Award".

Creative coworking in the Center for Contemporary Art

"The success of the design of The Shop is connected with the joint work with our partners, the architectural company Eskew + Dumez + Ripple, – commented Matt Schwartz, director of the company-developer The Domain Companies. “We highly appreciate the fact that the AIA Institute appreciated The Shop for its high level of architectural integrity, because with the help of this project we tried to preserve the historical appearance of the building".

Creative coworking in the Center for Contemporary Art

Creative coworking in the Center for Contemporary Art

Creative coworking in the Center for Contemporary Art

Creative coworking in the Center for Contemporary Art

Creative coworking in the Center for Contemporary Art

Herzog & de Meuron: art center in Hong Kong prison

Herzog & de Meuron: art center in Hong Kong prison

Police station and prison – for the majority this is the address they want to see last in the list of cultural attractions. However, the other day the former police headquarters in Hong Kong was presented as a new art center Tai Kwun, which means “Big Station”. Swiss architects Herzog & de Meuron, created the project together with Purcell architects.

Herzog & de Meuron: art center in Hong Kong prisonThe peculiarity of the place – it is located two steps from the main financial quarter of the city.

The complex consists of 16 historical buildings (1864-1925) and open spaces on a plot of 13,600 square kilometers. meters. Here there are three buildings recognized as monuments – the former central police station, the magistracy and the prison of Victoria, witnesses to the 170-year history of Hong Kong.

Herzog & de Meuron: art center in Hong Kong prisonThe reconstruction of Tai Kwun was conceived as the creation of a platform for stimulating arts and a platform for Hong Kong artists.

Two new buildings designed by Herzog & de Meuron are added to the existing ones. This is the JC Contemporary Gallery and JC Cube Theater – a two-hundred-seat audience for performing arts, film screenings and events.

Herzog & de Meuron: art center in Hong Kong prison

Both new buildings are dressed in monumental perforated aluminum “bricks”, which stand out among the old brick facades.

Herzog & de Meuron: art center in Hong Kong prison

Herzog & de Meuron: art center in Hong Kong prison

Herzog & de Meuron: art center in Hong Kong prison

Herzog & de Meuron: art center in Hong Kong prisonFrom mid-June, the local restaurant Maven Yenn Wong’s Old Bailey will also work here.

Tai Kwun Art Center will give 6-7 shows a year, starting with an exhibition titled “Dismantling the Forest” (opening June 9, 2018) and an exhibition of Chinese artists. Herzog & de Meuron are also responsible for designing the museum of visual culture of Hong Kong “M +” – its opening is scheduled for 2019.

Steampunk alive

Steampunk aliveWorld exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

At the entrance to the hall of the Aptekarsky order we are met by a large “harmonica” camera on our feet, we read: the universal road, for the pavilion and the road, the McKelen system, is called “Acme”, just like the poetic circle of Nikolai Gumilev. Behind it, the photos of the World Exhibition of 1900 were built in the background, in the future the Eiffel Tower is visible, cardboard ladies and the gentleman with an umbrella are walking, such as were in photo studios for the entourage, mixing with the live visitors of the exhibition – the theatrical effect, albeit not too obtrusive, secured. We are immersed in the scenery of black and white photographs, made part of the play more than a hundred years ago, the heyday of imperialism, world trade, economic growth, illusions and hopes.

Any global exhibition that the Nizhny Novgorod fair, which was Parisian in 1900, recognized as the most fascinating that, for example, the recently opened biennial is always a theater and a manifesto, styles and directions are born here, and the existing ones are hypertrophied. A fairy tale, a holiday. Chronologically, the exhibition begins with the Paxton Crystal Palace, for the museum stores a stereopair with its photograph.

Steampunk aliveWorld exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

The Crystal Palace is the oldest hero of the exhibition, it was built in 1851. Further, through several more exhibitions – for example, in 1878, with the carved pseudo-Russian pavilions of Ropet and Hartmann, to which many modern ideas about the Russian hut go, or 1889, when they built the Eiffel Tower, the heroine of the same “main” exhibition of 1900 that looks here on us from all the walls.

Steampunk alive

World exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

Steampunk aliveWorld exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

Steampunk alive

World exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

At some point, from the Paris memories, the history of the Russian national style grows, even in addition to the “huts” of Ropet. For example, we learn that at an exhibition in 1900 the architect Tseidler built a pavilion of Russian alcohol, and we rejoice in the relevance of the topic. Or we see the Russia-Asia pavilion of architect Meltzer at the same exhibition, painfully similar to what the good people on Izmailovsky Island recently built. By the way, that Russian style in which the pavilion was decided, and by 1900 was already an anachronism.

Steampunk alive

World exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

Steampunk alive

World exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

In a word, the exhibition in the Aptekarsky order simultaneously guides the technology of stereo photography, old cars for shooting and viewing, and a means of studying the history of the architecture of world exhibitions, for example: “The Russian Pavilion of Ropet at the World Exhibition of 1878 became a kind of standard for Russian architects of the second half of the XIX century” , – we read in explications. And traced the line of Russian architecture and European, including the “colonial” part, the pavilion of China and so on. Of course, one could make an exhibition larger, alternately considering all material on world exhibitions, which is in the museum, with excursions into the stages of development of the national style.

Steampunk aliveWorld exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

Steampunk aliveWorld exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

Steampunk aliveWorld exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

Steampunk aliveWorld exhibition in Paris in stereopairs and photographs. Photo: Yulia Tarabarina, Archi.ru

But even so, it’s good. Especially when – with some photos boring – the story is accompanied by real stereopair browsing mechanisms and other anaglyphs, red-blue glasses, and you realize how long all this was invented and became popular, that more than a hundred years have passed, and mankind has since not much progress in the field of 3D, honestly speaking. And when we are offered a snack to see through two eyepieces on digitized stereopairs, to enjoy the effect of a picture similar to a golden luminous hologram. And in the museum shop you can buy a modern device for viewing stereopairs in the tablet. In a word, for all steampunk lovers – mustsee.

Futuristic mixers from Jaquar

At the April exhibition Mosbuild the Indian company Jaquar presented novelties for bathrooms. In the lineup there are two brands: Jaquar (for premium segment) and Artize (for luxury). "All the days of work at the exhibition, we constantly encountered a great interest in our products", – says the director and founder of the company Rajesh Mayor. And, indeed, Jaquar is already represented in 45 countries of the world and annually produces 24 million sanitary products.

Futuristic mixers from Jaquar

Mixer Tiaara, Artize.

This year, the company introduced a new product from the brand Artize – mixer Tiara designed by Michael Foley. Looks like a mixer more on jewelry, not on a functional object: it is made of concentric rings, like those that arise on the water. Water turns on when you turn the ring.

Futuristic mixers from JaquarMixer Tailwater, Artize.

Other novelties – Tailwater mixer designed by Clodia Danelon and Linea mixer designed by Paricha Mayor – are more familiar in form. The first is inspired by lines of modern architecture and reminds a bird frozen on the edge of the pool. The second is a sample of minimalism. An interesting feature – water turns on when you turn the entire mixer. "Our products are not in vain in such demand, – says Rajesh Mayor. – We try to combine unusual design, innovative technologies and modern materials".

Futuristic mixers from JaquarMixer Linea, Artize. Water turns on when you turn the mixer itself.

Smart ovens: what modern technology is capable of

Smart ovens: what modern technology is capable of

Revolutionary technology

One of the main discoveries of the exhibition was the Dialog Oven oven with a conceptually new approach to cooking. Under the motto of Revolutionary excellence, the manufacturer demonstrated how several dishes can be cooked simultaneously. Each dish remains fragrant, the oven itself controls the process and makes adjustments where and when it is needed. Several built-in sensors analyze the mass and composition of food. By means of soft electromagnetic waves of greater length, Dialog Oven allows cooking faster and without burning.

Smart ovens: what modern technology is capable ofDialog Oven, Miele.

Oven thinking for you

Italian developers have introduced the intelligent Turn oven & Cook with one program. Through the sensors of heat transfer, it determines the amount of food and the degree of its availability, which makes it possible to control the process. All you need is to turn the regulator once, no additional actions and settings are required. Indesit focuses on the easy cleaning of their furnaces due to the unique system of removing the inner glass of the door.

Smart ovens: what modern technology is capable ofTurn & Cook, Indesit.

A technique that “communicates” with one another

In 2018, Whirlrool engineers presented the collection of W Collection household appliances and the 6th SENSE Livé app. The latter allows each device to communicate in a single network and create a coordinated work of the entire system. The process can be monitored remotely from a mobile device. The application 6th SENSE Live integrated Google Assistant, which allows you to manage all the equipment with voice commands. The premium W Collection includes: ovens, microwave ovens, hobs, hoods and microwave ovens.

Smart ovens: what modern technology is capable ofW Collection, Whirlpool.

Instagram-oven

Generation Y – bloggers and millennials will appreciate the Watch oven model&Touch with a touch screen in the entire door and built-in inside the camera. This device displays a photo of food in Instagram to a new level. Now the dish can be photographed right in the oven. Managing through a screen or mobile device, you can change any settings. And being out of the house, you can always see on the display of your mobile, what happens inside the oven. A nice bonus was a large catalog of step-by-step video recipes that are displayed on the screen right during cooking.

Smart ovens: what modern technology is capable of

Watch& Touch, Candy.

3 in 1

At the stand of the company Hotpoint drew attention kitchen device 3 in 1 – microwave oven + oven + steamer. Switching between these modes is quite simple. This is done through a small touchpad or with a smartphone. Many recipes and the availability of a convenient container will further facilitate the preparation of healthy food. And in addition there is a heating unit. Thus, you can serve dishes to the table in warm dishes.

Smart ovens: what modern technology is capable ofSteam, Hotpoint.