FORMELE CAPRICIOASE ALE ARTEI

Manuel Nogueira - Alícia Kuczman

2012-01-28T09:50:00.006+02:00

fotograf: Manuel Nogueira

model: Alícia Kuczman

stylist: Rita Lazzarotti

revista: Elle Brazil (February 2012)
hair & makeup: Henrique Martins

manuelnogueira.com

Zackary Canepari - Real Doll Factory [Bizarre magazine]

2012-01-17T12:52:00.007+02:00

www.canepariphoto.com

fotograf: Zackary Canepari
film: Drea Cooper & Zackary Canepari
sculptor: Matt McMullen

Andy Warhol - Kiss (1963)

2011-09-27T21:38:00.003+03:00

"Of course what I think is boring must not be the same as what other people think is, since I could never stand to watch all the most popular action shows on TV, because they're essentially the same plots and the same shots and the same cuts over and over again. Apparently, most people love watching the same basic thing, as long as the details are different. But I'm just the opposite: if I'm going to sit and watch the same thing I saw the night before, I don't want it to be essentially the same - I want it to be exactly the same. Because the more you look at the same exact thing, the more the meaning goes away, and the better and emptier you feel".

Ronit Baranga

2011-08-06T09:31:00.007+03:00

www.ronitbaranga.com

razielle - Blue Magic Woman (2011)

2011-07-30T12:37:00.004+03:00

oil on canvas
60x80 cm

Manuel Herz Architects - Legal / Illegal Architecture

2011-07-27T10:27:00.005+03:00

Architect: Manuel Herz

Project Team: Emmanuelle Raoul, Sven Röttger

Site Supervision: Martin Schäfer

Structural Engineers: Ove Arup

Technical Services: Frank Rapita

Client: TURRIS Immobilien GmbH & Co. KG

Floor Area: approx. 400 sqm

Projectvolume: approx. 800.000,- €

Photographs: Boris Becker
Text: manuelherz.com

The Design
"The 5.50m wide and 25m deep site, in combination with all norms, rules,
fire regulations, building laws, the municipal development plan and the
rules of „construction near landmark buildings“ result in a very clearly
defined and non-ambiguous volume. Form follows Law! This starting position
forms the first volume of the building: a transparent (as transparent as
the law, as Kafka once said) and orthogonal volume, that out of respect,
or for safety reasons, steps back from history by one meter, and thereby
reacts to the municipal building line set in the development plan. In the
back part of the site, as a full construction covering the whole site is obviously
not allowed according to the development plan, a stepping down
of the volume is created by terraces on each level. It is the proper volume
of the building, which is formulated according to all laws and binds itself
to the rules. The „legal“ volume.

The second volume of the building is formed through different measures.
It is the defiant volume. How many rules can be disregarded in a place
dominated and strangled by rules. First of all, the volume as a whole is
not allowed to exist at all, as its complete floor area exceeds the maximum
area permitted in the development plan. Hence, the volume in itself
is illegal. Being a non-orthogonal, free-formed body, it is mainly opaque
and traces a path from streetlevel through the gate, moving up the floors,
piercing through them, and facing with its main mass at the upper levels
back down upon the street, thereby realising a loop around that gate,
the historical monument. Its windows, goggle-eyed, look into the sky, onto
the terraces and down on the street. Every single surface of its faceted
volume throws a „shadow-area“ onto one of the neighboring sites, something
forbidden by german planning law, and in most cases the official
formulas for calculating their sizes cannot be applied onto the shape of
that volume. The fire-regulations are disregarded and the main mass of
the volume encroaches the street again, crossing the municipal building
line. Not a single exteriour wall is standing perpendicular upright and
the differentiation between wall, roof and floor, the main categories of
building elements in architecture, is disolved. It is covered with a bright
red polyurethan coating which allows for a “construction without details”
and forms a continuous skin over all surfaces of the building. Being disrespectful
to the german building code and the laws and regulations of
that site in particular, it is the „illegal“ volume. Both combined, they form
the building."

(more on www.manuelherz.com)

www.manuelherz.com

www.boris-becker.com

razielle - Nud verde (Green Nude) (2008)

2011-07-19T13:41:00.012+03:00

oil on canvas
30x40 cm

Culcata intre perne, ea se lasa-ndragita

Si suradea, placandu-i cum se-nalta s-o scalde

Iubirea mea tacuta, ca marea linistita

Cand vrea sa prinda tarmul in bratele ei calde.

Ma urmarea cu ochii tigroaicei imblanzite,

Si incercand alene atragatoare poze,

Dadea candoare pura lascivelor ispite

Si-un farmec nou acestor trupesti metamorfoze.

Si umerii, si bratul, si pulpele rotunde,

Mi se-mbiau privirii cu luciul lor de piele;

In mladierea lina a lebedei pe unde,

Si pantecul, si sanii – ciorchinii viei mele –

(fragmente)

Charles Baudelaire - Podoabele

Elle était donc couchée et se laissait aimer,
Et du haut du divan elle souriait d’aise
À mon amour profond et doux comme la mer,
Qui vers elle montait comme vers sa falaise.

Les yeux fixés sur moi comme un tigre dompté,
D’un air vague et rêveur elle essayait des poses,
Et la candeur unie à la lubricité
Donnait un charme neuf à ses métamorphoses ;

Et son bras et sa jambe, et sa cuisse et ses reins,
Polis comme de l’huile, onduleux comme un cygne,
Passaient devant mes yeux clairvoyants et sereins ;
Et son ventre et ses seins, ces grappes de ma vigne,

Charles Baudelaire - Les Bijoux

She let herself be loved: then, drowsy-eyed,
Smiled down from her high couch in languid ease.
My love was deep and gentle as the seas
And rose to her as to a cliff the tide.

My own approval of each dreamy pose,
Like a tamed tiger, cunningly she sighted:
And candour, with lubricity united,
Gave piquancy to every one she chose.

Her limbs and hips, burnished with changing lustres,
Before my eyes clairvoyant and serene,
Swanned themselves, undulating in their sheen;
Her breasts and belly, of my vine and clusters,

Charles Baudelaire - The Jewels

razielle - Amurg de toamna (femeie cu frunze)

2011-07-18T07:53:00.017+03:00

O rază

ce vine goană din apus

şi-adună aripile şi se lasă tremurînd

pe-o frunză:

dar prea e grea povara-

şi frunza cade.

O, sufletul!

Să mi-l ascund mai bine-n piept

şi mai adînc,

să nu-l ajungă nici o rază de lumină:

s-ar prăbuşi.

E toamnă.

oil on canvas
100x70 cm
Poezie: Lucian Blaga - Amurg de Toamna

Ron Mueck - Hyper-realistic Sculpture

2011-05-25T09:01:00.008+03:00

Boris Ovini - Saskia de Brauw & Kate

2011-04-13T08:07:00.011+03:00

fotograf: Boris Ovini
models: Saskia de Brauw and Kat Hessen
make-up: Houda Remita
hair stylist: Karin Bigler

revista: Exhibition Magazine

www.borisovini.com
http://exhibition-magazine.com
www.karinbigler.com

Rafaela Proll - Nadine Wolfbeisser

2011-04-07T21:06:00.005+03:00

fotograf: Rafaela Proll

model: Nadine Wolfbeisser
stylist: Yoan Gonfond
revista: 1st Magazine (April 2011)

www.rafaelaproell.com
www.nextcompany.com

Marina Abramović - Rhythm 0 (1974)

2011-03-21T23:13:00.009+02:00

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were scissors, a knife, a whip, and, most notoriously, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) several people began to act quite aggressively. As Abramović described it later:

“What I learned was that…if you leave it up to the audience, they can kill you.” ... “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation."

[video]

www.moma.org

slinkachu - The Little People Project

2011-03-18T11:32:00.010+02:00

"Abandoning little people on the streets since 2006"

little-people.blogspot.com

Felice Varini - Anamorphic Illusions

2011-03-15T11:45:00.010+02:00

“If you draw a circle on a flat canvas it will always look the same. The drawn circle will retain the flatness of the canvas. This kind of working is very limiting to me, so I project a circle onto spaces, onto walls or mountain sides, and then the circle’s shape is altered naturally because the ‘canvas’ is not flat. A mountain side has curves that affect the circle, and change the circle’s geometry. So, I do not need to portray complicated forms in my paintings. I can just use the simplicity of forms, because the reality out there distorts forms in any case, and creates variations on its own accord."

www.varini.org

Bill Viola - Acceptance

2011-03-09T22:08:00.002+02:00

www.billviola.com

Jason deCaires Taylor - underwater sculpture

2011-02-28T12:25:00.007+02:00

Jason de Caires Taylor’s underwater sculptures create a unique, absorbing and expansive visual seascape. Highlighting natural ecological processes Taylor’s interventions explore the intricate relationships that exist between art and environment. His works become artificial reefs, attracting marine life, while offering the viewer privileged temporal encounters, as the shifting sand of the ocean floor, and the works change from moment to moment.

The experience of being underwater is vastly different from that of being on land. There are physical and optical considerations that must be taken into account. Objects appear twenty five percent larger underwater, and as a consequence they also appear closer. Colours alter as light is absorbed and reflected at different rates, with the depth of the water affecting this further. The light source in water is from the surface, this produces kaleidoscopic effects governed by water movement, currents and turbulence. Water is a malleable medium in which to travel enabling the viewer to become active in their engagement with the work. The large number of angles and perspectives from which the sculptures can be viewed increase dramatically the unique experience of encountering the works.

www.underwatersculpture.com

Hideyuki Nakayama Architecture - O House

2011-02-06T10:34:00.006+02:00

O House created by Hideyuki Nakayama Architecture is located at the beautification zone of the ancient city of Kyoto, and it is built like two lean-to extended out from the 2-story main house.

The center of activities is, if anything, based on those lean-to. Those spaces are simply produced by spanning rafters between the retaining walls of the adjacent house and the main house, end various elements such as kitchen, a dining table, furniture and a bath tub are set around the main house, encircling the main house.
The space is somewhat like a passage garden by alternately aligning the exterior and the lean-to along with the site boundary. By spending time going back and forth everyday through this passage garden, the residents can see the small and hard to grasp shape of the main house from outside in various angle.
The volume of the house can appear like a tower, or a castle wall depending on the location to look at. The place where the family sleeps is on second floor of the main house and one will access from the staircase reaching out from the passage garden, therefore it is as if like going home rather than simply going to a bedroom. In this way the interior of the main house became a space slightly kept distance from the area spending daily lives.
The inside is a curved Horizont-like space, where the portion of the staircase, the thin steelframe floor, and the equally lined fittings are scattered around without displaying a sense of distance to each other. The relationship among those elements can be visible only after the residents reside and move around, along with the furniture placed at certain locations and drops shadow of each. The gable side of the house shows the doll-house conditions, open and visible from the adjacent street.
There was no intention from the beginning to bring in the exterior into the interior, or release the daily life of the resident to the surroundings. However, there was such a thought of providing a depth to the extent of life produced within the cityscape, site ground and the house – which we have never felt before.
I imagine the sort of new, powerful residents of the house transforming the house into a living space or a cityscape, through the daily lives of the family of four fully utilizing the depth of the extent I tried to produce.

www.hideyukinakayama.com

frater - Year of the Rabbit

2011-02-05T08:35:00.003+02:00

Sound design: Zhe Wu

Music: Stefan Panczak

Designed/directed by: Benji Davies & Jim Field

www.fraterfilms.com

Nguyen La Chanh - Moss Carpet

2011-01-28T23:23:00.003+02:00

Nguyen La Chanh

billy kidd - Merethe Hopland

2011-01-24T16:44:00.001+02:00

www.billy-kidd.com

Spora Architects - Fővám tér

2011-01-21T11:28:00.017+02:00

project: M4 metro line FŐVÁM TÉR UNDERGROUND STATIONS, BUDAPEST
location: center of Budapest, Quay of River Danube, Hungary
year designed: 2005
year built: 2007-2012
status: under construction
budget: cca. 20 million Euro
volume: 7100m2/station
design: sporaarchitects Ltd. – Tibor Dékány, Sándor Finta, Ádám Hatvani, Orsolya Vadász
team: Zsuzsa Balogh, Attilla Korompay, Bence Várhidi, Noémi Soltész, András Jánosi, Diána Molnár, Adrienn Molnár
general design: Palatium Stúdió Kft.
photo: Tamás Bujnovszky
construction, installations: consortium of Főmterv, Uvaterv, Mott-Macdonald

The new metro line planned in Budapest is to connect South-Buda with the city center.10 stations will be constructed in the first step . Szt. Gellért tér and Fővám tér station is on the left and right sides of the Danube river.
"FŐVÁM TÉR" station is a twin station of the Szent Gellért tér, similarily with a complex stucture composed of a cut-and-cover box and tunnels. The complexity of the structure is even greater, since here a new tunnel for the tramline and a new pedestrian subway has to be constructed, as well. Having the new underground station, Fővám tér will become a new gateway of the historic downtown of Pest.
Only a complex structural system could fulfil the requirements emerging from the proximity of the Danube and the given construction site. On that reason, the station is constructed of a cut-and-cover box and for tunnels.
The station is divided into two main stuctural parts as well as two building methods. There is a box structure built through an open pit from the surface. Work pits are supported by slurry or pile walls. The other part of the station is under an exisisting building, it is built using NAT methods.

The box will be supported by three levels of reinforced concrete beams, the structure of which will be similar to a net. There are three layers of this network, which keep the walls of the box like a bone-structure. The design of the box is determined by this sight of concrete net-structure. In the other part the tunells have a curved cross section. The walls and the columns will be covered with printed ceramic tiles of the arfwork type, reflecting to the Zsolnay ceramics of the Gellért hotel, wich is nearby the site.
Due to the construction technology, huge rooms have been created in the inner spaces of the stations. The section of the space is proportional to cross section of average street in Pest ,built in the eclectic period in the 19th century, so the station can be interpreted as a inverse street or square under the surface.
Playing on natural light has been an important aspect in the architectural formation of the entire line. The main goal is –apart from giving enough light of course- to attend on the interior design and show the architectural forming as much as possible.
On the surface of Fővám tér a huge square will be created without traffic. This will allow of locating glassy, crystalloid skylights, which will let the sunlight reach the platform level, emphasizing the unique character of the beam network.

www.sporaarchitects.hu

Tim Walker - Russian Dolls

2010-12-20T23:40:00.003+02:00

fotograf: Tim Walker
model: Karlie Kloss
stylist: Kate Phelan
revista: Vogue UK (October 2010)

www.timwalkerphotography.com

John Leung & Clarke Hopkins Clark Architects - Magic Carp-Pet Rug and Coffee Table

2010-12-19T18:42:00.002+02:00

“The graphic apparition, replacing the traditional fish tank, is also a nod to the decreasing abundance of our most precious natural resource – water. Mythologically, the carp symbolises bravery and fortune. Linguistically, the ‘carp’ becomes a humorous extraction of the ‘carpet’ that reveals this intriguing little conversational piece on the floor.”

www.chc.com.au
melbournearchitects.blogspot.com

Yue Minjun

2010-12-18T22:43:00.005+02:00

Immediately humorous and sympathetic, Yue Minjun’s paintings offer a light-hearted approach to philosophical enquiry and contemplation of existence. Drawing connotations to the disparate images of the Laughing Buddha and the inane gap toothed grin of Alfred E. Newman, Yue’s self-portraits have been describe by theorist Li Xianting as “a self-ironic response to the spiritual vacuum and folly of modern-day China.”

Often basing his compositions on well known European masterpieces and iconic Chinese art, Yue subverts the grandiose aura of art history through his adaptation of pop aesthetics. Using both the exaggerated expressiveness of cartooning and the stylistic rendering of graphic illustration, Yue depicts his cloned doppelgangers as contorted and grotesque, all scalded pink skin and maniacal toothy cackles.

The acidic tones and commercialised vacuity of his works are used to underscore the insincerity of his figures’ mirth. As both antagonists and anti-heroes, Yue’s hysterical cohorts equally bully the viewer and stand as subjects of ridicule. Using laughter as a denotation of violence and vulnerability, Yue’s paintings balance a zeitgeist of modern day anxiety with an Eastern philosophical ethos, positing the response to the true nature of reality as an endless cynical guffaw.

Some Thoughts About Art

„I have always found laughter irresistible-well, at least I don’t dislike it.

I paint people laughing, whether it is a big laugh, a restrained laugh, a crazy-laugh, a near-death laugh or simply laughter about our society: laughter can be about anything.

Laughter is a moment when our mind refuses to reason. When we are puzzled by certain things, our mind simply doesn’t want to struggle, or perhaps we don’t know how to think, therefore we just want to forget it.
The 90’s is the time when everyone should laugh.

Artists are the kind of people who always like to reveal to the simple, innocent and humble souls the never-ending illusion of our lives.”

www.saatchi-gallery.co.uk

www.yueminjun.com

Guido Mocafico - Venenum

2010-12-12T21:50:00.008+02:00

www.mocafico.com

Issey Miyake - 132 5.

2010-12-07T10:57:00.010+02:00

„Born from a union between mathematics and clothes making.”

1.Clothes and products
Keywords: regeneration, re-creation

A single piece of cloth is folded into a square. When one grasps the top of the folded square and pulls it upwards, a three-dimensional shape is revealed. The shape, in this case, an item of clothing, is produced by the folds and determined by all acute angles and triangles that make up the structure.
A total of ten basic patterns (i.e. forms when folded) become shirts, skirts, pants, and one-piece dresses depending on the cut-lines in different positions. There are many other variations of the clothes created by different sizes of the same shapes and different combinations of shapes.
The beauty when folded, the elegance and gracefulness when worn, “132 5. ISSEY MIYAKE” fuses the mathematics of folding and the art of clothes making. It is an exploration of ways by which to make many different products as well as to forge new relationships between clothing and the human form.

132 5. ― The meaning behind the numbers

The name, 132 5. was born from the above-mentioned process. Each of the numerals has a special significance. The numeral “1” refers to a single piece of cloth, while “3” refers to its three-dimensional shape. The following “2” comes from the fact that a 3D piece of material is folded into a two-dimensional shape, and the “5” separated by a single space refers to the time between when the folded forms are made and people actually put them on, giving birth to clothing.

The future of materials, resources and making things

One of the many goals that the Reality Lab. shares is to search for and develop materials that do not depend on fossil fuels. One of the fruits of their research has been PET, a material generated by Teijin Limited from chemical recycling by pulverizing, melting and “spinning” threads out of polyethylene terephthalate. This is the polyester fiber used to make all “132 5. ISSEY MIYAKE” clothing.
Using this revolutionary recycled material (fibers), the Reality Lab. came up with original ideas by which to further improve the fibers to yield more comfortable clothes. This work was done in conjunction with the textile-producing factories that have long been associated with ISSEY MIYAKE’s work.

Logo and store design

The logo and package designs are created by Art Director Katsumi Asaba. The flagship store, scheduled to open this autumn (2010) in Tokyo is designed by Tokujin Yoshioka. The launch will begin with a limited release at the ISSEY MIYAKE stores in New York, Paris, London, etc.

[video]
www.isseymiyake.com

David Firth - Drillbithead

2010-11-29T22:49:00.000+02:00

www.fat-pie.com

Hedi Slimane - Temps Libre

2010-11-06T18:20:00.007+02:00

fotograf: Hedi Slimane
model: Freja Beha Erichsen
stylist: Carine Roitfeld
revista: Vogue Paris (November 2010)

Mats Edlund, Henrietta Palmer and Matts Ingman - Hölick Sea Resort

2010-11-05T12:32:00.008+02:00

"Until today Hölick Sea Resort, located in a pine forest on the coast north of the Swedish city Hudiksvall, has been a traditional camping site. The proposal is a total concept of living, food, services and experiences – including nature, buildings, footpaths, bridges, lighting and signage – to achieve an over-all experience, while keeping a feeling of privacy. By focusing on an exciting architecture in wood, inspired by the former tents on the camping, the client wishes to reach more affluent customers. The area is planned for 22 houses of two different types; 80 and 90 m2, of which the bigger one has just been built.Both houses are built totally in wood, using the Gotlandic traditional faltak – a wooden roof – to achieve a homogeneous wood appearance. The interiors are light and spacious, and planned for an easy Swedish summer lifestyle for families and friends."

Sayaka Ganz

2010-10-31T17:56:00.006+02:00

"I find discarded objects from peoples' houses and give them a second life, a new home. For my sculptures I use plastic utensils, toys and metal pieces among other things. I only select objects that have been used and discarded. The human history behind these objects gives them life in my eyes. My goal is for each object to transcend its origins by being integrated into an animal form that seems alive."

Artist bio
Sayaka Ganz was born in Yokohama, Japan and grew up living in Japan, Brazil, and Hong Kong. She has been living and working in Indiana for 15 years. She received a Bachelor of Fine Arts degree at Indiana University Bloomington and continued to create welded sculptures of animal forms independently. In 2008 she received a Master of Fine Arts degree in sculpture from Bowling Green State University (BGSU) in Bowling Green, Ohio. Currently she teaches design and drawing courses at Indiana University–Purdue University Fort Wayne (IPFW).
Using post-consumer plastic objects as her materials, Sayaka’s recent sculptures depict animals in motion with rich colors and energy. Her recent exhibitions include: “Art:Morph” – solo exhibition collaboration with the Science Central, Fort Wayne, and “Convergence” – solo exhibition in the Visual Arts Gallery, Indiana University – Purdue University Fort Wayne.

www.sayakaganz.com

Henrique Gendre - Fine China

2010-10-26T10:07:00.007+03:00

fotograf: Henrique Gendre
model: Danni Li
makeup artist: YuKa Washizu
hair stylist: Diego Americo
stylist: Alex Slavycz
revista: ROUGE (#3)

www.henriquegendre.com

Mount Fuji Architects Studio - In Flakes

2010-10-26T09:37:00.006+03:00

design: Mount Fuji Architects Studio
principal use：street furniture
dimensions：1350 × 330 × 45cm
own：Arts Towada
design：2008.9 - 2009.10
manufacture：2009.10 - 2010.3

photo by Sadao Hotta
photo by Kuniya Oyamada
Courtesy of NANJO and ASSOCIATES

Mount Fuji Architects Studio
Arts Towada

NHDRO - The Waterhouse at South Bund

2010-10-20T23:45:00.009+03:00

Architect firm: NHDRO
Location: Shanghai, South Bund
Function: Boutique Hotel
Photography: Pedro Pegenaute

Located by the new Cool Docks development on the South Bund District of Shanghai, the Waterhouse is a four-story, 19-room boutique hotel built into an existing three-story Japanese Army headquarters building from the 1930’s. The boutique hotel fronts the Huangpu River and looks across at the gleaming Pudong skyline. The architectural concept behind NHDRO’s renovation rests on a clear contrast of what is old and new. The original concrete building has been restored while new additions built over the existing structure were made using Cor-Ten steel, reflecting the industrial past of this working dock by the Huangpu River. NHDRO’s structural addition, on the fourth floor, resonates with the industrial nature of the ships which pass through the river, providing an analogous contextual link to both history and local culture.
NHDRO was also responsible for the design of the hotel’s interior, which is expressed through both a blurring and inversion of the interior and exterior, as well as between the public and private realms, creating a disorienting yet refreshing spatial experience for the hotel guest who longs for an unique five-star hospitality experience. The public spaces allow one to peek into private rooms while the private spaces invite one to look out at the public arenas, such as the large vertical room window above the reception desk and the corridor windows overlooking the dining room. These visual connections of unexpected spaces not only bring an element of surprise, but also force the hotel guests to confront the local Shanghai urban condition where visual corridors and adjacencies in tight nong-tang’s define the unique spatial flavor of the city.

www.pedropegenaute.es
www.neriandhu.com

Baillie Walsh - KM3D-1

2010-10-16T13:14:00.002+03:00

Film director - Baillie Walsh
Featuring: Kate Moss
Film Creative Director - Jerry Stafford
Crystals supplied by Swarovski

Created by AnOther Magazine with artist and filmmaker Baillie Walsh, KM3D-1 stars Kate Moss. The work continues Moss and Walsh's journey into experimental, multi-dimensional image-making, first seen in their legendary holographic film for Alexander McQueen's autumn/winter 2006 show.
With a performance that recalls the fantastical cinema of Ray Harryhausen, James Bidgood and Kenneth Anger, KM3D-1 places at its centre one of the most iconic female figures of the modern age. Suspended in time and space, Kate is caught inexorably in the parallax gap; a butterfly in a spider's web.
Captured at 1,000 frames per second – a speed so slow that movement is almost imperceptible – the beauty of Kate's face appears frozen, transforming her into an impenetrable deity. She is a figure of contemporary fantasy, shattering her own self-image.
Made with state-of-the-art Phantom cameras, specially built for the project to create extreme slow motion and a dramatic 3D effect, KM3D-1 reflects AnOther Magazine's raison d'etre: to champion creatives pushing the limits of what seems possible.

Text by Nancy Waters

www.anothermag.com

Robert Wilson - Video Portraits

2010-10-15T21:51:00.007+03:00

Theater director, designer, and choreographer Robert Wilson has been exploding conventional notions of portraiture since 2006. The portraits, shot in high-definition video, mount vertically on large plasma monitors, installed in collaboration with VOOM HD Networks, a corporation based in New York. A few hang in the Legion Arts building up the road, in Cedar Rapids.

These are not your typical Renaissance portraits, they move… Not by much but there are blinking eyes, mouths chewing gum, and wind-blown dresses. Stepping away from the paint and canvas of the traditional artist, Wilson uses the high-definition canvas of the 21st century.

www.robertwilson.com

Karine Basilio - Irina Vodolazova & Heather

2010-10-15T21:12:00.010+03:00

fotograf: Karine Basilio
models: Irina Vodolazova & Heather of Muse
fashion editor: Tammy Eckenswiller
revista: Dress to Kill Magazine (Fall 2010)

http://karinebasilio.com

www.tammyeckenswiller.com

Donato Sansone - VIDEOGIOCO

2010-10-10T14:20:00.002+03:00

animation and concept - Donato Sansone
sound design - Enrico Ascoli

myspace.com/milkyeyes
nricoascoli.com

Alexander Augusteijn - High Speed Bullet Photography

2010-10-08T11:42:00.005+03:00

„I am a photographer from the Netherlands, specializing in high speed photography. I use a normal flash to achieve very short illuminations. The most critical parameter in this kind of photography is timing, which is achieved by computer control of shutter, flash, valve, gun or whatever other device is used.
These kind of images require a lot of experimentation, dedication, patience and willingness to endlessly clean spill of liquids and debris from objects shot to pieces. Several hundreds of trial shots may be needed to get timing correct. After that, the process is pretty well controlled, and often half of the shots will be usable, with 1 out of 10 really interesting.”

Alexander Augusteijn

www.lex-augusteijn.nl

Jérémy Clapin - Skhizein

2010-10-05T22:39:00.001+03:00

Directed by Jérémy Clapin

writer: Jérémy Clapin
supervising writer: Stéphane Piera

Forsman & Bodenfors - Homemade is Best

2010-10-03T12:42:00.007+03:00

Swedish furniture and homeware brand IKEA have released this 140-page cookbook without any words. Called Homemade is Best, the project was a collaboration between creative directors Staffan Lamm and Christoffer Persson, photographer Carl Kleiner, copywriter Fredrik Jansson and creative agency Forsman & Bodenfor. It is purely graphical with photos of ingredients laid out in a style inspired by Japanese minimalism, followed by photography of the completed cake.

Workgroup:
Client: IKEA, Joel Idén
Agency: Forsman & Bodenfors
Art director: Staffan Lamm, Christoffer Persson
Copywriter: Fredrik Jansson, Anders Hegerfors
Account director: Susanna Fagring
Account manager: Ewa Edlund
Planner: Tobias Nordström
Photographer: Carl Kleiner / Agent Bauer
Retouch: F&B Factory, Henrik Lagerberg
Stylist: Evelina Bratell

http://www.fb.se
IKEA – HOMEMADE IS BEST

Daemian Smith & Christine Suarez - Tiiu Kuik (video)

2010-09-29T22:35:00.001+03:00

Alfa Polaris - Can Gili Footbridge

2010-09-20T20:50:00.008+03:00

Architectural design firm: Alfa Polaris
Structural engineering firm: Alfa Polaris
Cost: 574,400 €
Location: Borough of Granollers
Typology: 40 metre long continuous cranked structure with a main span of 32.7 metres

This sloping Corten steel footbridge by Spanish civil engineers Alfa Polaris straddles a main road to connect two parts of Granollers, Spain. The Can Gili Footbridge provides a direct route between the densely populated area of can Gilli and the greener Terra Alta, which were previously only connected by a bridge on their outskirts. Terra Alta on the north side sits 4.3 metres higher than can Gili on the south with the bridge sloping between the two.
The asymmetric bridge is finished in weathered steel, illuminated by LEDs and has a treated timber decking. The steel structure took four days to assemble from components manufactured off-site.

http://www.bierot.net

Mikael Jansson - Mariacarla Boscono

2010-09-11T21:49:00.013+03:00

fotograf: Mikael Jansson
model: Mariacarla Boscono
regizor: Fabien Baron
editor: William Town
stylist: Ludivine Poiblanc
revista: Interview (Sept. 2010)

http://www.interviewmagazine.com

Pilobolus - Symbiosis

2010-09-10T12:36:00.002+03:00

Does it trace the birth of a relationship? Or the co-evolution of symbiotic species?
Music: "God Music," George Crumb; "Fratres," Arvo Part; "MorangoAlmost a Tango," Thomas Oboe Lee.

"A male-female duet which traces the birth of a relationship between two creatures sinuously & sensuously intertwined. At once a Darwinian investigation and a love story, Symbiosis never ceases to surprise with its majesty and emotional depth."

http://www.pilobolus.org

Studio KAA - Sprouting Bench

2010-09-09T11:24:00.016+03:00

The sprouting bench by Kois Associated Architects is a proposal for a public bench. The initial idea was to design a morphologically “live” object which alludes to plant growth patterns. The research was orientated towards studying processes of morphogenesis, self generation, self organization and growth of plant systems. The outcome was the creation of a sculptural object. The bench was constructed primarily out of metal, applying manufacturing techniques used in the brass (pneumatic) instruments production and the seating surfaces were made out of beech wood.

http://www.koisarchitecture.com

Mario Botta - Tschuggen Bergoase Spa

2010-09-08T11:50:00.014+03:00

Architect: Mario Botta
Location: Arosa , Switzerland
Client: Grand Hotel Tschuggen AG
Construction Year: 2003-2006
Area: 5’300 m²
Volume: 27’000 m³

Marele volum al cladirii (27.000 m³) dispare in pamant, lasand la iveala doar impactul vizual creat de copacii artificiali, ganditi de arhitect ca o metafora a naturii. Acestia garanteaza lumina naturala si o extraordinara perspectiva spre sit, dar si o atmosfera magica pe timpul noptii, cand lumina artificiala tradeaza activitatea nocturna din interior.
Spatiul interior al cladirii este divizat pe patru nivele, continand facilitati fitness, spatii pentru tratament corporal, bazine pentru inot, solare, magazine si spatii de relaxare. Cladirea prezinta si spatii exterioare (sauna, solar, bazin de inot) amplasate pe terase, zone mai private ascunse in natura.
Cladirea este bine incadrata in peisajul puternic, evidentiind in acelasi timp lupta dintre om si munte.

http://www.botta.ch/

Collier Schorr - Freja Beha Erichsen

2010-09-07T11:38:00.011+03:00

fotograf: Collier Schorr
model: Freja Beha Erichsen
stylist: David Vandewal
revista: i-D magazine (Feb. 2009)

Charlie Pyott - Linos (Record Player Concept)

2010-09-06T20:58:00.007+03:00

http://pyottdesign.com

Steven Meisel - Water & Oil

2010-08-30T10:37:00.013+03:00

fotograf: Steven Meisel
model: Kristen McMenamy
stilist: Karl Templer
revista: Vogue Italia (August 2010)

Polly Morgan

2010-08-27T08:35:00.010+03:00

"What [taxidermists] are trying to do is to recreate a wildlife image in 3D, a classic pose, something you'd see in the countryside. I am more interested in the moment between something dying and decaying - anything between a few hours and a week. There's something beautiful about that."

Polly Morgan (UK, 1980) began working as an artist in Octomber 2005. A love of animals and desire to preserve them led her to learn taxidermy, under the tutelage of taxidermist George Jamieson. Since then she has gravitated towards making still lives with the animal as subject.

Her intention has never been to mimic the natural habitats of animals, as they are traditionally displayed, but to place them in less expected scenery. The scale and settings are often unnatural, but the animals are never anthropomorphised. Seeing them out of place encourages us to look at them as if for the first time.

http://pollymorgan.co.uk/

Chinese Man Records - 7TH STREET

2010-08-27T08:09:00.005+03:00

video: Fred & Annabelle (Chinese Man Records)
Music : SLY - Small City Music
www.chinesemanrecords.com

Rockwell Group - Nobu Restaurant

2010-08-26T09:53:00.012+03:00

Design: Rockwell Group
Project: Nobu restaurant
Location: Dubai, United Arab Emirates
Photography: Eric Laignel

The well-established and highly regarded Japanese restaurant chain, Nobu, named for world renowned chef Nobuyuki Matsuhisa with locations worldwide, is extending its iconic brand to the Middle East with the opening of Nobu Dubai at Atlantis The Palm on Palm Jumeirah. The 11,500 sq ft restaurant, designed by New York based Rockwell Group, opened in September (2008).

The restaurant’s design is an evolution of many of the concepts Rockwell Group developed for the flagship Nobu 57 in New York but with an Arabian flair. To anchor the restaurant to its location, Rockwell Group surrounded the restaurant walls with large hand-woven abaca panels to evoke an environment submerged under an ocean wave and added accents of traditional Middle Eastern vernacular architecture such as hand-wrought iron columns of flowers, leaves and buds.

A 600-foot long curved river rock wall and laser cut metal screen of cherry blossoms mark the entry to the bar. The bar itself is made from 3 inch solid timber planks with a backlit onyx front. For the lounge, Rockwell Group developed curved translucent flower panels, which form an elliptical shape around the center of the space to form an area for private events.

www.rockwellgroup.com

www.noburestaurants.com/

David Gardener - Packaging Lamp

2010-08-25T08:42:00.003+03:00

The pulp structure starts off as the packaging to house the bulb plug wire and socket. When opened, the user removes these electronic parts and repositions them back in the pulp structure in their correct positions where it actually becomes the structure of the lamp, leaving no waste packaging to be thrown away.

The process of molding paper pulp can produce beautifully molded shapes. Due to machinery restrictions the lamps are all hand made, unlike the pulp packaging that is used in the packaging industry. The middle section of the lamp is created to look like a standard turned wood stand, but in fact the shape is entirely determined by the electronic components that are packaged in it during transport.

http://www.davidgardener.co.uk/

Tim Noble and Sue Webster

2010-08-24T13:36:00.012+03:00

Tim Noble (b. 1966, Stroud, UK) and Sue Webster (b. 1967, Leicester, UK) take ordinary things including rubbish, to make assemblages and then point light to create projected shadows which show a great likeness to something identifiable including self-portraits. The art of projection is emblematic of transformative art. The process of transformation, from discarded waste, scrap metal or even taxidermy creatures to a recognizable image, echoes the idea of 'perceptual psychology' a form of evaluation used for psychological patients. Noble and Webster are familiar with this process and how people evaluate abstract forms. Throughout their careers they have played with the idea of how humans perceive abstract images and define them with a meaning. The result is surprising and powerful as it redefines how abstract forms can transform into figurative ones.

Parallel to their shadow investigations, Noble and Webster have created a series of light sculptures that reference iconic pop culture symbols represented in the form of shop-front-type signage and carnival shows inherent of British seaside towns, Las Vegas and Times Square. With the aid of complex light sequencing these signs perpetually flash and spiral out messages of everlasting love, and hate.

Noble & Webster have created a remarkable group of anti-monuments in their twelve-year career, mixing the strategies of modern sculpture and the attitude of punk to make art from anti-art. Their work derives much of its power from its fusion of opposites, form and anti-form, high culture and anti-culture, male and female, craft and rubbish, sex and violence.

poezie...de ploaie...neagra.

2010-08-23T09:26:00.008+03:00

Director/Screenwriter/Producer/Editor: razielle
Music: Can - She Brings The Rain

Andy Prior

2010-08-17T10:47:00.010+03:00

“Sometimes my artwork is a bit crude and twisted for the masses, and seen as not very politically correct. That isn’t always the intention it just comes out that way."

Choi + Shine Architects - The Land of Giants

2010-08-14T11:53:00.014+03:00

Project Type: High-Voltage Pylon Competition

Location: Iceland
Type of Client: A public company (that owns and runs the electrical transmission system in Iceland).
New or Reno: New – Pylon design competition.
Special constraints & site description: The pylons were intended to be constructable, affordable and durable.
Design challenges & solutions: We sought to make an iconic, unforgettable pylon, that created an identity for Iceland and the power company.
Original/Adaptation: The design is original.
Unusual/innovative building components: Each structure is composed of a kit of parts, minimizing construction costs.
Sustainable design elements: The structure is predominantly recyclable
Material use: Steel, glass and concrete
Completion date: 2008

http://www.choishine.com

David Sims - Karen Elson

2010-08-14T11:34:00.008+03:00

fotograf: David Sims
model: Karen Elson
stylist: Carine Roitfeld
revista: Vogue Paris (December / January, 2007 calendar)

Henning Larsen - Batumi Aquarium

2010-07-31T14:11:00.013+03:00

“It captures the special atmosphere by the sea and thus becomes a tribute to the power of the sea!” (Design Director and Partner at Henning Larsen Architects, Louis Becker.)

Location: Batumi in the Republic of Georgia
Project team: Louis Becker (design director, partner) Anders Park (project manager), Viggo Haremst (design responsible), Michael Sørensen and Jaewoo Chun.
Client: Association A.T.U.
Gross floor area: 2,000 m2
Year of design: 2010 – 2010
Type of assignment: First prize in invited competition

http://www.henninglarsen.com/themes/frontpage.aspx

Daemian Smith & Christine Suarez - Tiiu Kuik

2010-07-19T19:30:00.015+03:00

Fabian Brunsing - Pay & Sit, The Private Bench

2010-07-17T22:42:00.002+03:00

David Bellemére - Irina Lazareanu

2010-07-12T12:03:00.010+03:00

fotograf: David Bellemére
model: Irina Lazareanu
stylist: Elisabetta Massari
revista: Marie Claire (May 2010)

Michelangelo di Battista - Anna Maria Urajevskaya

2010-07-12T11:44:00.008+03:00

fotograf: Michelangelo di Battista
model: Anna Maria Urajevskaya
revista: Vogue Italia (November 2007)

Studio NminusOne - Khyber Ridge Residence

2010-06-26T15:27:00.009+03:00

Architects: Studio NminusOne
Location: Whistler, British Columbia, Canada
Client: Marc Morisset
Construction Year: 2005
Contractor: Michael McGillion
Engineering: David Strandberg and C. A. Boom
Photographs: Studio NminusOne

The Khyber Ridge house was commissioned by a professional snowboarder. The strategy takes its cue from the intimate engagement of a shredder following the line of a mountain; it is one of maximum engagement with the site. The house is distributed along a steep slope, developing diverse tactical relations to the landscape, the surrounding views and the internal functions or program of the house.

Made up of five levels, the lower level, a guest house is embedded in the rock for maximum privacy. Its green roof blends in with the landscape. In contrast the main living volume is formed by a cantilevering roof with a suspended floor projecting out of the slope. The cantilever is anchored by four 3 foot deep steel beams drilled directly into the rock face; its floor is suspended by four, 1 inch diameter stainless steel rods. With its glass enclosure, the effect created is of a floating open platform, revealing when occupied the full impact of the surrounding mountains. One is literally suspended in space and surrounded by the foliage of trees. The upper level bedrooms retreat back along the contours of the mountain producing discreet relationships to the surrounding views. As the inhabitants navigate these volumes, they continuously weave in and out of the terrain.

In the winter, the flat roof of the living level retains the snow. The snow then acts as an insulating blanket keeping the temperature close to 0 degrees Celsius. In the summer, the flat roof becomes a necessary flat surface for outdoor living, leaving the rest of the sloped site intact.

Ellen von Unwerth - A Naughty Fairytale

2010-06-24T22:48:00.005+03:00

VIDEO HERE

Luis Buñuel, Salvador Dalí - Un Chien Andalou (1928)

2010-06-18T23:58:00.011+03:00

Director: Luis Buñuel
Writers: Luis Buñuel, Salvador Dalí

"no idea or image that might lend itself to a rational explanation of any kind would be accepted"
"Nothing, in the film, symbolizes anything. The only method of investigation of the symbols would be, perhaps, psychoanalysis."
Luis Buñuel

Craig McDean - Megan Fox (Interview Magazine)

2010-06-13T10:46:00.014+03:00

fotograf: Craig McDean
model: Megan Fox
revista: Interview Magazine
(June-July 2010)

Tim Bollinger - Between

2010-06-09T13:03:00.006+03:00

Director/Screenwriter/Producer/Editor: Tim Bollinger
Cinematographer: Daniel Meinl
Sounddesign: Michael Fakesch (designingsounds.com)

http://www.between-film.com/

Toyo Ito - Suites Avenue Apartment

2010-06-05T10:53:00.006+03:00

Architect: Toyo Ito
Location: Barcelona, Spain
Period: 2003.12~2009.3
Structure: steel construction
Scale: 8 stories
Site Area: 555m2
Building Area: 555m2
Total Floor Area: 4,514m2

Fatada impreuna cu gradina interioara si partea centrala a cladirii au fost proiectate de Toyo Ito, restul hotelului fiind conceput de Carlos Basso si Toni Olaya. Design-ul fatadei e inspirat de Casa Mila a lui Gaudi, cladire ce poate fi admirata din hotel, motiv pentru care Ito a acceptat acest proiect.

http://www.toyo-ito.co.jp/