Si le travail du peintre mexicain Omar Ortiz est souvent qualifié d’hyperréaliste, c’est parce qu’en regardant ses toiles, on a parfois du mal à croire que ce ne sont pas des photographies. Ses tableaux présente le corps, notamment des femmes, avec une finesse incroyable. Des oeuvres bluffantes à découvrir en images.
La dernière campagne de Reporters Sans frontières est encore une fois une réussite. Lancée à l’occasion de la Journée mondiale de la liberté de la presse, elle met en scène des leaders comme Vladimir Poutine ou Bachar Al Assad et résume leur attitude politique vis-à-vis de la presse au travers de gestes très évocateurs.
Following a series of stories about Spanish residences with tiled floors here’s a renovated early twentieth-century house in Barcelona featuring a mixture of old and new tiles.
Spanish studio 2260mm Architects designed the interior for a family, partially dismantling an old house in the neighbourhood of Gracia. The architects inserted an extra storey and added a tiled courtyard filled with potted plants to bring more light into the ground floor.
Most of the decorative tiles were retained and surrounded by new, grey tiles, forming the floors of two bedrooms, a kitchen and dining room and the hallways.
“The tiles are from the early twentieth century and were often used in houses and apartments in Barcelona,” architect Manel Casellas told Dezeen.
“Most of the tiles in the corridor and the bedrooms are located in the original place. In the living room and the kitchen we designed ‘carpets’ with some existing coloured tiles,” he added, explaining the arrangement.
Part of the roof had to be removed to add the new first floor, providing a bedroom and indoor balcony with wooden floorboards.
Wooden ceiling beams are left exposed on both floors, but are painted white on the first floor.
Other tiled Spanish apartments we’ve featured include one in Barcelona where floor tiles highlight seating areas, one in Toledo with green patterned ceramics and another in Barcelona with tiles that gradually change from green to red.
See more architecture in Barcelona »
See more architecture and interiors featuring tiles »
Photography is by Lluís Bernat.
Here’s a short description from the architects:
Casa, Barcelona
A renovation of a ground floor house of the early XX century in Barcelona, partly renovated a few years ago, with ceilings that hide a great height.
Although it was dark, its facades face to the street and the inner garden. The project partially disassemble the house and maintains structure and distribution: a new interior courtyard illuminates the ground floor and gives the kitchen some facade.
We added a floor into the existing volume and dismantled part of the roof, pulling some facade back and making a terrace for bedrooms.
We have used a dry construction system, with a new floor of wooden beams, OSB boards, wood fibre insulation and wooden floor. The new facade is isolated from the outside with wood fibreboard. We maintained pre-existing characteristics: interior woodwork and old tiles.
The post Casa by 2260mm
Architects appeared first on Dezeen.
Over the next few weeks we will be highlighting award-winning projects and ideas from this year’s Core77 Design Awards 2013. We will be featuring these projects by category, so stay tuned for your favorite categories of design! For full details on the project, jury commenting and more information about the awards program, go to Core77DesignAwards.com.
The projects explores notions of gravity and its influence over space, over our perception of it and over the body itself. By offering a world where people are affected by multiple gravities, we expose new spatial possibilities and new ways of negotiating space.
The inversion glasses are a tool to navigate the inverted gravity experience re-orientating our point of view and spatial references.
– How did you learn that you had been recognized by the jury?
We received the congratulating e-mail at 3 in the morning, because of the time difference here in Geneva, Switzerland. At that moment, we were still working in order to finish our final degree projects. It was less than one week before our latest presentation, we were tired and exhausted. We had to read the email several times in order to fully understand what it was about. Was our project a runner up or the winner? This good news came to give us really strong motivation for the last stages to go!
Camille de Dieu and Jérémie Lasnier are now graduates from the Media Design Master, and Camille Seewer completed the Spaces and Communication Master, both orientations in HEAD-Genève / Geneva University of Arts & Design.
– What’s the latest news or development with your project?
For the moment, this project is not evolving anymore. It has been developed at a workshop led by El Ultimo Grito and Auger-Loizeau and was presented in the “Inverse Everything” exhibition for the Milan Design Week in 2012.
However, this exploration about the perception of space through the body was the starting point of other discoveries that we carried on with our master projects.
– What is one quick anecdote about your project?
During the exhibition, it was really funny to invite people to wear the Inversion Glasses. Everyone reacted in a different way. Some were really at ease, almost running, while others seemed drunk. Some were even lost and scared when they had to “climb the stairs,” referring to the orange path that modulated the ceiling. The most exciting moment was when we guided them to the entrance of the building, crossing from the interior to the exterior was like jumping into the void! Many people were scared of heights and did not even go out!
– What was an “a-ha” moment from this project?
We remember when we did our first prototype of the Inversion Glasses. The three of us already tested walking with them. We were pretty uncomfortable, walking slowly with our hands in front of us, scared of the different height changes of the door frames that looked like steps. Then, we showed them to Jimmy Loizeau. He put them on his head, and just ran in the corridor! We were terrified that he would fall and hurt himself, but he was just laughing so hard!
View the full project here.
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Exposée durant le festival Burning Man, Truth is Beauty de Marco Cochrane est une superbe sculpture de 16 mètres de haut issue de son Bliss project. Construite à l’aide de tiges d’acier soudées entre elles et d’environ 3000 LED multicolores, elle change d’aspect constamment. Plus d’images dans la suite.
Advertorial content: Anybody who has bought a SIM card in Europe can attest to the ease and freedom of the “pop it in, top up and go” kind of model found there—and in many countries around the world. Signing a…
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I read an interesting news article about a house frozen in time. Nothing had changed after the owner had passed away in 1932. The heirs of the deceased bequeathed the house to Britain’s National Trust and it was turned into a museum. The National Trust decided, “to leave it exactly as they found it to give the public a unique insight into family life between the wars.”
©National Trust Images/Geoffrey Frosh
I’ve often asked my clients what they would take with them if their homes were burning or if they had to evacuate their homes immediately. The answer to these questions certainly helps identify the essential, irreplaceable objects. However, reading the article about the house frozen in time got me thinking. What if someone came back in time and looked at your house? What would your stuff say about the way you lived your life? Is it accurate?
Make sure your home reflects the story you want to tell. You never know, one day, you may just see a phone booth on your front lawn or a DeLorean parked in your driveway.
Let Unclutterer help you get your home or office organized. Subscribe to our helpful product shipments from Quarterly today.
Les sculptures de papier de Rogan Brown sont empreintes de délicatesse et d’élégance. S’inspirant de formes et de motifs naturels qu’ils soient macroscopiques ou microscopiques, l’artiste cisèle le papier à force de précision et de détails. Un travail impressionnant à découvrir en images.
It’s Marseille’s moment. The port city, France’s largest on the Mediterranean coast, is in the spotlight as this year’s European Capital of Culture, with a host of major projects on view. Writer, author, and intrepid flâneur Marc Kristal paid a visit to the new and improved Museum of the Civilizations of Europe and the Mediterranean and filed this formidable report for us.
(All photos courtesy Rudy Ricciotti)
Comprised of two 15,000-square-metre structures—the 17th-century Fort St.-John and a new seven-level building by architect Rudy Ricciotti, linked by a slender 115-metre-long footbridge—Marseille’s Museum of the Civilizations of Europe and the Mediterranean (MuCEM), is, says director Bruno Suzzarelli, “an outstretched hand from France to the region.” Wishing to refuse the “bling-bling brightness” of signature-building starchitecture, Ricciotti responded to the fort’s massiveness with a “bony, feminine, fragile” design, executed almost entirely in high-strength concrete, and distinguished by a densely-patterned screen that covers two elevations and folds onto, and projects off of, the roof.
Seven hundred and eleven of the 15,688 cubic metres of MuCEM’s signature building material are comprised of fiber-reinforced ultra high performance concrete (UHPC), which proved especially suitable to the project: UHPC’s “closed-pore” compounding renders it virtually impervious to sea spray and other corrosive agents, and the highly “flowable” substance can adapt to the most elaborate molds—ideal for MuCEM’s latticework panels. Ricciotti also appreciated the material for its narrative qualities. “Cement can inspire dread in certain slums and elsewhere touch the sublime,” he observes. “And cement gives off a formidable sensuality.”
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