Monday, February 15, 2010
TDK has adopted Kleer wireless technology — which specializes in audio equipment. As a result, 16bit/44.1KHz became possible to leave the high-quality wireless transmission of voice data, so you can enjoy the same high-quality sound you would get with headphones in wireless headphones.
TDK's TH-WR700 are said to feature 32Ω impedance, 20Hz–20kHz frequency response, and 108 dB/mW sensitivity — better than most headphones available with bluetooth. The Kleer transmitter adapter, which has a 3.5mm input just so happens to fit perfectly on the iPhone (pointed out by other blogs and genius' alike). We don't think it's crazy or weird that companies release products that look as though they were designed just for the iPhone. My iPhone is my MP3 player, it's the only one I have, and it's the only one I plan on using — so it's nice to purchase products that fit its specs.
The TDK TH-WR700 will be available starting March 1 in Japan for $190. Research has failed me, and no word of international availability has been found.
Over the past few years Vitra has aquired a wide-ranging Home Collection. The quantity and variety of objects by many different designers led to the idea of building a showroom to present the items to the public.
Herzog & de Meuron designe the VitraHaus to display the Vitra Home Collection. The building also has some additional space to be used as an exhibition venue for selected parts of the collection or even as an extension of the Vitra Museum itself. A shop, a cafe linked to the outside and conference rooms complete the program.
Rocha Tombal Architecten designed a basic form with sculptural “eyes” that emerge with direct views to the varied countryside landscape.
The form and orientation of the building avoid visual contact with the adjacent houses. At the ground floor the angled ceiling of the kitchen accentuates the intensive contact with the garden. On the first floor, the different shaped openings in the roof and facade offer, like “fingers of light”, varied daylight experiences.
The routing through the house starts in the hall, a section of the ground floor volume. After experiencing the entrance area and passing the gigantic pivoted door, the visitor arrives at the heart of the house, the kitchen. Here he looks through the big glass wall straight into the garden, which suggests being outside again. Behind him, the stair cuts a wooden wall inviting to follow the route towards the first floor. Its angled form and extreme proportions (small and high) and the daylight entering from the ceiling, offer the feeling of walking in a medieval street.
At the end of it he discovers the living room, a quiet, north-lighted attic space, from which a big opening exposes the surrounding green like in a framed painting.
Ivan Navarro’s work strives to engage the viewers interaction and highlight the social and political implications that result in his compositions. Transforming conventional objects into light sculptures is the language Navarro uses to shine light on his fears. “I make spaces in a fictional way to deal with my own psychological anxiety,” Navarro says.