Hasta La Ideas

The two rehearsal rooms of this Brazilian music school are covered with chalkboards on the outside and oriented strand board on the inside.

Designed by architects 0E1, the Eclética Centro De Música centres around an informal foyer where students and teachers are able to make notes on the walls.

This space separates the two practice rooms and leads into a recital room beyond.

OSB was also used to make stools and tables for every room plus some bookshelves slotted into one corner.

You can see more stories about music-related design on Dezeen here.

Photography is by Marcelo Donadussi.

Here’s some more information from 0E1:

The design for this music school is based upon the creation of two hermetic chambers to house rehearsals inside a large space in a historic building located in Nova Prata, Brasil. The configuration of such boxes turns the residual space into two ambients that, even though are continuous, configure different spaces for different activities.

The proposal aims to enrich the user’s experience while using the as little compositive elements as possible.

When entering the school, one arrives at a foyer located between two chambers, where the administration and reception are; going further inside the school, a new space emerges, where students can practice before and after class, interacting and sharing knowledge.

The interior of the chambers was designed in order to optimize the acoustics and the comfort of the users. The lighting solution maintains the 3,4-meter-high ceiling and creates a lower light surface, increasing the comfort without losing the acoustic properties of the original building.

A series of furniture were designed to meet the overall resource economy of the project. The material used in the furnishing is the same OSB that covers the interior of the chambers, assuring unity to the design. The different models satisfy the different users’ needs, from instrument practice to administrative functions.

Yael Mer et Shay Akalay de Raw Edges Studio ont pu penser cette table design pour la marque hollandaise Arco. Une tablette glissante permettant de poser un ordinateur, idéal pour les espaces limités. Plus de photos de ce projet dans la suite.

Previously on Fubiz

• The Identity Film
• Hu2 Design
• Insect Traps

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Milan 2012: these stacking metal chairs were created by French architect Jean Nouvel for the restaurant of the RBC Design Centre that his studio have designed in Montpellier, due to open next month, and they’re now in production with Italian brand Emu.

Flat metal bars make up the legs, backrest and arms of chairs, which come in white, red, grey and black. They stack and are weighted so they can easily be hooked over the edge of tables when cleaning the floor.

Launched at the Salone Internazionale del Mobile in April, the collection shares the restaurant’s name, MIA, and comprises stacking chairs, armchairs, benches, high stools and two tables.

See all our stories about Jean Nouvel here.

The Salone Internazionale del Mobile took place from 17 to 22 April. See all our stories about Milan 2012 here, plus photos on Facebook and Pinterest.

Here’s some more information from Emu:

Jean Nouvel designs MIA, the new collection with a strong, happy character.

The new MIA collection, designed by Jean Nouvel, is a crystal-clear example of the spirit EMU brings to placing technological development at the top of its priority list, in an atmosphere buzzing with productive creativity. The whole concept stems from the RBC Design Centre in Montpellier, where three important elements were brought together: design, production and distribution. Frank Argentin, founder of RBC and a personal friend of Jean Nouvel, commissioned the Montpellier showroom to the French architect and designer with the aim of creating a venue that was to act as an authentic design manifesto, a showcase able to offer visitors a trip through the world of prestige furnishings. With this mission in mind, it was of the essence that the common areas be furnished with particular care; hence Frank Argentin’s decision to entrust the furnishing project for the Design Centre’s restaurant (also called MIA) to Jean Nouvel and to Emu, a company with years of sound experience in the contract sector, world leader in metalworking and trusted supplier of RBC. From the collaboration of these three outstanding names sprang the new MIA collection, with a design revolving around the concept of furnishings that make their mark and are so instantly recognisable the world over as to become true urban icons, thanks not only to the Emu brand name but to the efforts of the extraordinary work group the company is part of.

Simple, clean-cut lines are the hallmarks of these seats and tables, whose hard-wearing, practical qualities provide the perfect response to a wide range of requirements to suit all tastes. MIA is designed and certified as an outdoor product, but is also perfectly suitable for use indoors, not only in homes, but also in design or history museums, as well as the top-of-the-range hotel and street contract segment. Considering the needs of these different sectors, the new collection has been designed to guarantee maximum functionality: thanks to the lightweight frame and the shape of the seats and arms, the chairs can easily and practically be placed on top of the table, thus making tidying up and cleaning operations easier.

The collection will be composed of stackable seats featuring a distinctive, skilful combination of aluminium and metal, available with and without arms, as well as armchairs, a high stool, a bench and two tables, one round and one square, with fold-down metal and laminate tops and featuring a distinctive geometric base composed of four rectangular-shaped tubes. Made in Italy throughout, MIA is available in white, red, grey and black, and will be complemented with coordinated cushions suitable for both indoor and outdoor use.

Juergen Teller, “Pettitoe, Suffolk, 2011,” a photograph from his “Keys to the House” series exhibited earlier this year at New York’s Lehmann Maupin gallery.

“I can achieve something in a very quick moment. But it does get very personal. I think I open up a lot too. I don’t come around as the archetype fashion photographer dude, playing the big guy with the horde of assistants. I let them know I’m also nervous or insecure. Then I let them relax. The way I photograph is quite hypnotizing. I found a way to hide my insecurity—I have two cameras and I photograph like this [mimes cameras in each hand moving hypnotically] and this helps me to figure out what I should do, where they should go…it’s so intense, so psychologically draining, it’s like my brain works on overdrive in those minutes—or hours or days—I’m photographing. That’s why I can’t do it so much because I’m really super-concentrated. Other people think it’s a stupid snapshot—I get that a lot—but it’s very precise. And it has to be very fast because if I’m on a job or something, I can’t just doodle around and days go past and I take a picture. Sometimes there’s a lot of money involved and I have a responsibility to the client to get the fucking thing done. A lot of other people say, “Stand like that, stay like that,” and they do a Polaroid and everyone—all the assistants, the hair and makeup, everyone—stands around looking at the Polaroid or nowadays looking at the screen, then they say, “Let’s do it, shoot,” by which time the model is so tense the Polaroid is better than the end product. I ease that up where they don’t feel necessarily, ‘This is the big decisive moment.’”

–Juergen Teller interviewed by Tim Blanks in the fall 2012 issue of Style.com/Print

New Career Opportunities Daily: The best jobs in media.

Seattle already has a number of superheroes—the most well known is Phoenix Jones, a costumed vigilante. Now the city has a super villain, Rex Velvet, an eye-patched evildoer who is challenging Phoenix Jones to a showdown.