Le photographe américain Brad Wilson s’est intéressé aux portraits d’animaux après 12 ans à photographer des mannequins et de célébrités. Sur un fond noir, il fait poser les animaux les plus sauvages comme des humains. L’ensemble de ses portraits est rassemblé dans son livre Wildlife. Jusqu’au 14 Septembre, Brad Wilson expose à la galerie Doinel en Belgique.
Visitors to Korea’s National Museum of Modern and Contemporary Art can now frolic over and amongst a field of mushroom-shaped inflatables based on the landscape of a Korean fairy tale (+ slideshow).
Designed as a collaboration between Korean architects Choi Jangwon, Park Cheonkang, and Kwon Kyungmin, the temporary installation is the first Seoul edition of MoMA’s Young Architects Program (YAP), an initiative that this year also saw pavilions built in New York, Istanbul, Rome and Santiago.
The architects, who go under the collective name Moon Ji Bang, based their design on the ancient Asian myth of Shinseons – a kind of hermetic creature said to live on top of high mountains or above clouds.
Named Shinseon Play, the installation is intended as a representation of this heavenly landscape, which “transcends the hustle-bustle of the human world of joy, anger, sorrow and pleasure”.
“Our project is based on this myth that is still implicit among Koreans’ collective unconsciousness nowadays,” said the architects. “It focuses on staging this heavenly feeling in a way more akin to scenography or mise-en-scene.”
Located outside the museum, the structure is made up of over 50 huge inflatables with narrow stems and bulbous tops. This shape gives them an appearance that could be compared to mushrooms, trees or clouds.
“We intended a flexible image that can have numerous interpretations,” said the Moon Ji Bang team.
A series of flower beds are positioned at the base of the inflatables, while a wooden bridge winds up over the surface of the canopy. This allows visitors to experience the space from both above and below.
“We wanted to celebrate in full force not only the shadow but also the light that a pavilion can give to a human being,” said the architects, explaining how people can enjoy the sun on top or sit and read on the grass beneath.
There are also trampolines positioned on opposite sides of the site, offering visitors a chance to enjoy both views in quick succession.
“One can jump up punctuating the cloud and mist above, instantly coming up and down heaven and earth,” added the team.
Each balloon is supported by a hollow steel pipe that allows air to be gently pumped inside. The air pressure is programmed so that each one sways gently with the wind, or as people touch it.
It’s that time of the year, and it’s getting chilly fast! (For most of the world that is.. Singapore not so much though it starts raining non-stop). These scarves from Coisa are the perfect accessory for the cold weather. Knitted with exclusive yarns from Italy, all Coisa’s scarves come in a very limited quantity. We have one of the scarves from Coisa‘s previous collection and oh, how soft it is! Cosy and chic, perfect for that time of the year when you’re all bundled up you can barely see anything else you put on under that coat.
Wood panels used for the floors of Venice’s ubiquitous water taxis surround a bookcase and a coffee table by Italian designer Davide G Aquini (+ slideshow).
Items in the Pagliòlo Collection by Davide G Aquini are wrapped in vertical okumè panels, more commonly used in boat building.
Pagliòlo is the Italian word for the flooring used in the bottom of the Venetian vehicles.
“Whenever possible I like to let myself be inspired by what I feel is part of me, my training, my life,” said Aquini, who came up with the idea for the collection while watching boat taxis in the canals of Venice, the city where he is based.
Both the table and storage unit are raised off the ground on four steel tubing legs, supporting oval-shaped horizontal sections milled from MDF and lacquered in white or grey.
The structure is wrapped in the okumè cladding, which also provides structural support for the top, leaving a fixed opening to allow access to the inside.
The corners of the okumè panels are rounded by hand and treated with a primer to obtain the colour base, before being coated with numerous coats of acrylic paint to achieve the same high gloss finish seen on boats in Venice.
“Pagliòlo is a project inspired by a detail typical of the corner of the world where I grew up,” said Aquini.
“The sparkling and slightly retro liveries of the water taxis have always fascinated me and they are the starting point from which I designed this collection.”
Originally a graphic designer, Aquini’s previous furniture projects include a series of sideboards inspired by Byzantine mosaic art, a wireframe lamp using the visual language of 1980s virtual reality, and a sideboard clad in the slats that are used to shield furniture during the lacquering process.
With a height of 224 metres, the office block is the tallest building in the City of London. It is best known for its tapered profile that pulls back to respect views of St Paul’s Cathedral, and which also earned it its nickname.
The Leadenhall was designed by Richard Rogers‘ firm for a site beside the architect’s celebrated Lloyds Building and, like that structure, the tower expresses its entire framework on the exterior.
Speaking to Dezeen last year, Rogers described the “exciting” dialogue set up by the two buildings and St Paul’s.
“To me that’s what architecture is all about. It’s not about fitting in, it’s setting up these dialogues.”
“The enjoyment of St Paul’s was that it was seen against a very low and rather poor medieval background. That was a flourish. It’s exactly the same with any form of architecture. It’s a dialogue, it’s a beauty that comes from contrast,” he said.
The building’s visible framework is made up of a series of constituent parts.
Instead of a structural core, a full-perimeter structure, known as a braced tube, defines the edges of each office floorplate to give the facade its most visible element. These elements break the building down into seven-storey modules.
Other distinguishable features include the ladder frames that enclose the fire-fighting cores and a circulation tower that runs up the northern side of the building.
The triple-glazed facades make use of 70,000 square metres of glass. Blinds were installed in the cavity between the two inner layers of glazing, and these adjust automatically to protect the interiors from glare and overheating.
Every floor inside the building is rectangular, getting gradually smaller towards the top. This allows for flexible internal layouts.
Although not yet complete, the base of the tower will feature a seven-storey-high public space filled with shops and restaurants. Set to open next year, it will feature a pocket park on one side, a public exhibition area and a thoroughfare running north to south.
Photography is by Richard Bryant, apart from where otherwise indicated.
I want an Apple Watch for four main reasons: Because of the nature of my work, the fact that I own two dogs, the fact that I live in a noisy city and because I hate Bluetooth earpieces. Now I realize that there’s no way Jony Ive and Apple’s design group has a profile fitting that description in their design briefs, there is no picture of me on their corkboard with a red circle around my face…
…but what they excel at is figuring out universal needs and designing solutions to those. Which is why it feels like the Apple Watch was designed precisely for me and for what I need to do on a daily basis.
I’ll start with the two dogs. They require a lot of exercise, which I’m happy to give them to counterbalance the effect of IPAs on my waistline, and I am outside with them a lot—up to two hours per day, every day, rain or shine. This is possible because my work enables me to set my own schedule and work from home.
Which brings me to the nature of that work. In addition to my Core77 duties, I run a rental photography studio in a highly competitive market, and if I miss a single phone call or text message, which may come in at any hour, there are hundreds or potentially thousands of dollars at stake for each message I miss. Clients want answers right away, and if you don’t pick up, they go down their list and contact the next studio.
Which raises the problem of me living in a noisy city. When outside with the dogs, my phone lives in a pants pocket. Thus if I’m walking or running I cannot always feel the vibration of an incoming message, nor hear the ring over jackhammers and bypassing ambulances. I’ve lost a three-day booking before because I couldn’t hear the phone and called back five minutes too late.
Anyone with a passion for design—or animals—will be a quick fan of Poligon’s foldable magnetic sculptures. The clever British duo, Rodrigo Solorzano and Matthew White, met at the Royal College of Art and have made the…
À l’occasion de la 31e cérémonie annuelle des MTV Video Music Awards du 24 août dernier, voici le spot de présentation des principaux nominés. Les hits les plus populaires de l’année se succèdent parmi des animations d’engrenages 3D avec des extraits de clips de Rihanna, Ariana Grande ou encore Beyoncé dans une identité signée Elastic à découvrir dans cet article.
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