L’artiste italien Giuseppe Colarusso détourne des objets tels que des tasses, des clés à molettes ou encore des cornets de glace et les combine avec d’autres objets de la vie quotidienne pour une interprétation intelligente. Une série d’objets pour le moins inattendue à découvrir en images.
World Architecture Festival 2014: a house with trees growing on the rooftops and a library where bookshelves and stairs wrap a triple-height atrium are among today’s award winners at the World Architecture Festival in Singapore.
The second batch of category winners will be revealed tomorrow. Completed buildings will go on to compete for the World Building of the Year prize on Friday, while unrealised projects will be pitched against one another for the Future Project of the Year award.
The annual World Architecture Festival (WAF) is taking place at the Moshe Safdie-designed Marina Bay Sands hotel and conference centre until 3 October and Dezeen is media partner for the event. The Inside Festival takes place alongside WAF, and the first category winners of the Inside Awards were announced earlier today.
Read on for the list of today’s WAF category winners:
House: House for Trees by Vo Trong Nghia Architects
Vietnamese firm Vo Trong Nghia Architects aimed to bring green space back into Ho Chi Minh City with House for Trees, a two-bedroom residence made up of concrete boxes with trees growing on the rooftops. The exterior walls are made of in-situ concrete with bamboo formwork, while locally sourced bricks have been left exposed inside.
Housing: The Carve by A-Lab
A huge terrace appears to have been carved out of the pixelated body of this mixed-use building in Oslo by Norwegian firm by A-Lab – one of the seven buildings that make up the city’s waterfront Barcode Project. The 15-storey complex contains eight floors of offices and seven levels of apartments.
Office: Liberty Place by Francis-Jones Morehen Thorp
Designed by last year’s World Building of the Year winner Francis-Jones Morehen Thorp, Liberty Place is an office block that links two streets at the crest of Sydney’s central business district. The complex is designed around public open spaces and streetscapes, framing vistas of nearby heritage buildings.
Higher Education and Research: Dalarna Media Library by Adept
Stairs and bookshelves wrap around a triple-height atrium inside this university library, which Danish architecture studio Adept describes as a “spiral of knowledge”. Located at Dalarna University in the Swedish city of Falun, the building is clad in Siberian larch, which is set behind a polished stainless steel screen.
Display: Te Kaitaka ‘The Cloak’ by Fearon Hay Architects
Te Kaitaika, or “The Cloak”, is a flexible events space in the heart of a growing district around Auckland International Airport with a facade of woven mesh screens and a contoured green roof. New Zealand firm Fearon Hay Architects sought to create a sculptural built form on the corner of two recently upgraded streets.
Schools: Chobham Academy by Allford Hall Monaghan Morris
During the London 2012 Olympic Games, Chobham Academy by Allford Hall Monaghan Morris served as both a gym and a security hub, but it now functions as a school for more than 1,300 students aged 3-18. The building centres around a five-storey drum that provides a full-height atrium overlooked by galleries above, while a new bridge connects the school with surrounding neighbourhoods and playing fields.
Shopping: Yalikavak Marina Complex by Emre Arolat Architects
Turkish studio Emre Arolat Architects designed this structure as the extension to a marina complex on Yalıkavak – one of the lagoons on the southwestern coast of Turkey. Conceived as a composition of vertical and horizontal masses with different heights, the travertine-clad building includes a boutique hotel, a spa and fitness centre and a row of shops encased in glass.
Religion: La Ascension del Señor Church by AGi architects
The industrial materials used to construct this church in Seville, Spain, make it look more like an edge-of-town manufacturing plant than a place for worship. Designed by Spanish-Kuwaiti firm AGi architects, the building features a folded roof with apertures that allow light to reach the interior.
Future Projects:
» Culture: Freedom of the Press Monument, Brazil, by Gustavo Penna Arquiteto & Associados
» Commercial mixed-use: Isfahan Dreamland Commercial Center, Iran, by Farshad Mehdizadeh Architects
» Health: The Extension of The People’s Hospital of Futian, China, by Leigh & Orange
» Leisure-led development: Antakya Museum Hotel, Turkey, by Emre Amrolat Architects
» House: The Olive Grove, Australia, by Ian Moore Architects
» Office: Agashiyan, India, by Sanjay Puri Architects
» Infrastructure: Linköping Central Station, Sweden, by Metro Arkitekter (Sweco group)
» Masterplanning: North West Cambridge Masterplan, UK, AECOM Design & Planning
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News: Markthal Rotterdam, the covered food market and housing development shaped like a giant arch by Dutch architects MVRDV, has officially opened today after five years of construction (+ slideshow).
The Netherlands’ first covered market is located in Rotterdam’s city centre and has space for 96 fresh produce stalls and 20 hospitality and retail units on the lower two floors.
MVRDV‘s design for the building comprises an 40-metre arched roof that contains 228 apartments, covering the public space based on food markets in Stockholm, Barcelona and Valencia.
A colourful one-hectare mural by artists Arno Coenen and Iris Roskam covers the inside of the arch, printed onto perforated aluminium panels then attached to acoustic panels for noise control.
“Cornucopia shows oversized images of market produce which can be bought at the market, while the flowers and insects refer to the work of Dutch still life masters from the 17th century,” said MVRDV.
Giant glazed walls at each end protect the market from the cold and wet weather, constructed using pre-stressed steel cables that create a suspended net in-between which the glass panes are hung.
Square windows puncture the flat grey end walls and the curved internal arch, allowing residents to look down onto the market.
Balconies for the apartments run along the sides of the building, with views either towards the historic Laurens Church or the River Maas.
The apartments and duplexes – from two to five bedrooms and a mixture of rental and freehold – occupy the upper nine storeys, while the lower two floors are taken up by retail units.
The shops all sell food-related produce and an underground supermarket is also included in the complex.
A staircase in the centre of the market, named The Time Stairs, showcases a permanent exhibition about the history of food and artefacts found during the excavation of the site.
Twenty-four-hour parking is located underground, with 1,200 spaces spread over four storeys.
The project, by developer Provast, forms part of the city council’s to redevelop the Laurenskwartier district where it’s located. It was opened by Queen Máxima of the Netherlands during a ceremony earlier today.
The City of Rotterdam first launched the competition to design a combined market hall and residential building in 2004, which was won with the design by MVRDV in collaboration with INBO architects, Royal HaskoningDHV, Peutz and Techniplan.
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Rotterdam opens appeared first on Dezeen.
Abu Dhabi airline Etihad’s new geometric livery by Landor Associates, supposedly inspired by the colours of the desert landscape, is the latest redesign in a sector that is becoming increasingly bold and playful in its use of graphics
An Etihad A380 tailfin painted in thye new livery. Image: A380_TLS_A350 on Flickr
The airline is calling the scheme Facets of Abu Dhabi. It uses a colour palette which apparently “reflects the varying hues of the landscape of the UAE, from the darker sands of Liwa to the lighter colours seen in the Northern Emirates” and is also inspired by the geometric patterns found in Arab culture.
According to James Hogan, Etihad’s president and CEO, “The striking new livery ontinues our commitment to breaking from convention and doing things differently. This is a real divergence from the norms of traditional airline livery design and will stand out in the sky and at every airport we fly to.”
Peter Knapp, Global Creative Officer of Landor Associates, said: “This new livery is a real step change in the industry. I believe there will be nothing like it on any apron in the world. … We used the ambient geometry present in the architecture and culture of the emirate and reinterpreted it with a sense of Arabian modernism which has become synonymous with Etihad and Abu Dhabi itself.”
Over the next three years, the livery wil be applied to the entire Etihad fleet (and will also be used in interiors, lounges and on advertising) but its first use is on an Airbus A380 which was was unveiled at Airbus in Hamburg at the end of last week. As well as the new livery, the A380 will also feature The Residence, a three-room suite comprising living room, bathroom and bedroom and a butler!
Whenever an airline tries to depart from just featurig a logo on the tails of its aircraft, the spectre of the Newell & Sorrell Utopia British Airways scheme from 1997 (and Margaret Thatcher’s reaction to it) is always raised.
It does seem now though that the market is open to more experimentation, with the likes of Avianca, Taca, Iberia and American Airlines all unveiling recent livery redesigns featuring abstract tail patterns. The Telegraph, however, has used the launch of a new Air New Zealand livery to pic our what it feels are the ten ugliest around.
In fact, as Forbes notes, 2014 has been quite a year for airline rebrands, including this by Lippincott for Southwest Airlines (more here)
Things do genuinely seem to be loosening up across the sector when it comes to liveries though, with many specialist carriers going for all-over graphics such as this for Kulula
And mainstream national carriers unveiling one-offs like this Pokemon-themed livery for All Nippon Air
and this from Alaska
The Airline World blog even spotted this one, though it has no information on which airline it was. Let’s hope it’s real and not Photoshop
Faber has unveiled the look of its new Modern Classics range, which is set to launch early next year. The new design uses plenty of white space with a subtle band of colour, plus a line from each of the texts…
Ten titles will launch the series in April 2015 (full details below), with a further six publishing in June. The series design has been led by Faber‘s art director, Donna Payne, who headed up the publisher’s rebranding in 2013 (details here).
Continuing on from that work, Payne has brought in several of the colours chosen as part of the Faber palette for use on the new covers. “A translucent slab of intense colour taken from the Faber palette cuts across the central area of each cover to create a striking visual link when the books are spine out or displayed together on a table,” she says.
The colour palette is derived from research carried out at the Faber archive in Bloomsbury, Payne told CR last year: “Many of our archive covers, particularly those designed in the fifties and sixties using bright acid shades, have aged down beautifully.”
The first set of covers in the new Modern Classics series favour photography instead of illustration – the two others in the launch series, both awaiting approval, feature great photographic images – and are complemented with a clean, unfussy layouy and type design. All the text is set in Faber’s company face, Swiss.
Hannah Griffiths, Faber’s associate fiction publisher, who led the development of the series, says that the criteria for inclusion was that the tiles were originally published by Faber, and at least twenty-five years old. “This was to give us a real sense that these are books that can justify the term ‘modern classic’,” she adds.
While the clever use of colour picks up on both the archive material and references the chosen image (see Nightwood above, for example), what’s also encouraging to see is that the additional cover text comes from the book itself. There’s no attempt to define or summarise the book in a pithy phrase, just a faith in the reputation of the work – and its new cover – to do the job.
According to the publishers, some of the editions will contain readers’ notes, facsimile material from the Faber archive, and newly commissioned material to help contextualise the work. Faber writers have been involved in the selection process, being asked to nominate their classic of choice.
The first ten titles in the series are:
Nightwood by Djuna Barnes with introductions from Jeannette Winterson and T S Eliot
Ariel by Sylvia Plath (chosen by Edna O’Brien)
Pincher Martin by William Golding with an afterword by Phillipa Gregory
The Buddha of Suburbia by Hanif Kureishi with an introduction by Zadie Smith
Self-Help by Lorrie Moore
Housekeeping by Marilynne Robinson (selected by Barbara Kingsolver)
Venice by Jan Morris
Selected Poems by T S Eliot featuring an essay by Seamus Heaney
Look Back in Anger by John Osborne with an introduction from Michael Billington and an afterword by David Hare
The Remains of the Day by Kazuo Ishiguro
An accompanying website, fabermodernclassics.com, will launch later this year
The creative team behind film magazine Little White Lies has partnered with Faber to launch its first book: an illustrated compilation of answers to the question, ‘What do you love about movies?’
Little White Lies has been asking interviewees this question since the magazine’s first issue in 2005. The book features a collection of the most interesting and candid responses from an impressive line-up of actors and film-makers, including directors Francis Ford Coppola, Steve McQueen, the Coen Brothers, Joanna Hogg and Spike Jonez as well as actors Ryan Gosling, Carey Mulligan, Helen Mirren and the late, great Philip Seymour Hoffman.
UK cover
US cover, featuring an illustration of Jude Law by Mario Zucca (also featured in the UK edition)
Answers are published alongside a bio listing each interviewee’s key achievements and a newly commissioned illustration of that person, or artwork inspired by their films. Responses range from candid personal anecdotes – such as Gosling’s admission that Rambo movie First Blood once inspired him to take a bunch of steak knives to school to throw at class mates – to thought-provoking reflections on cinema’s power to place us in an alternate world, or see life from someone else’s perspective. Most of those featured cite cinema’s escapism as its greatest charm.
While it’s a simple question, editor David Jenkins explains in an introduction to the book that interviewees often struggle to pinpoint what they love about movies, despite spending most of their working lives discussing film (or, perhaps, because of it). Joel Coen, for example, hesitates before answering: “I dunno. It’s the business we’ve chosen. You make certain decisions in your life and you either learn to love it or, y’know … So we’ve learned to love it.” Olivier Assayer responds: “It’s, you know, of course, very difficult to answer … it’s what my life is about.”
Wes Anderson, by Andrew Fairclough
The book was designed by Oliver Stafford and creative director Timba Smits, and there’s some lovely artwork throughout, with the cover design and pages introducing each interviewee inspired by vintage cinema tickets and Art Deco imagery.
“I think we liked the idea of framing modern movie personalities within the iconography of classic Hollywood, but not taking it to a level where it felt like parody, or it was too much of a preordained ‘concept’,” explains Jenkins. “It was basically a chance for us to contact all the artists we love and want to work with and have them all come together for a kind of book-shaped party,” he says.
Tom Hardy by James Wilson
Jenkins says Little White Lies has been planning to release a book for a while, but production began after a meeting with Faber in summer last year. “Having never produced a book before, I maybe thought it would be a little like producing a bumper issue of the magazine. But it really wasn’t. It’s the difference between, say, speaking Spanish and Portuguese – there’s a superficial amount of cross-over which helps to get you by, but at the end of the day, it’s a whole new language,” he says. “This book feels like it’s been in the making for ten years, and we hope people see it as a little self-built shrine to all the creative collaborators we’ve been involved with over the years.”
Much like Little White Lies itself, the book is a loving homage to the art of film-making, and contains some lovely illustrations, as well as a charming insight into what motivates some of the most talented actors and film-makers working today.
Tsai Ming-liang by Jensine Eckwall
While there are no immediate plans to release a follow-up Little White Lies book, Jenkins says he has discussed several ideas with Smits, and would like to do another. “Probably 50 per cent of conversations I have with Timba are hare-brained ideas for follow-up books … if we do decide to do a follow-up, it would have to be something entirely new which explored the film landscape in a way which hadn’t been done before. Creatively, we’re really pleased with how this one turned out. Everyone working on it gave their all, and then just that little bit more. It would be great to experience that collective energy and passion again.”
What I Love About Movies is published by Faber and available from Thursday, 2 October, priced at £25. To order a copy, click here.
Spike Jonez, by Christopher De Lorenzo
William Friedkin by Hedof
Joseph Gordon-Levitt by Gabz
Mia Wasikowska by Eleanor Taylor
Mila Kunis, by Bec Winnel
Untitled by Alex Currie
In Flickr’s 20under20 scheme a panel of industry judges has picked the 20 most talented young photographers on the platform
“Some 15 to 20 years ago, to explore photography you had to be older, you had to have money to experiment, to buy a decent camera and the photography process was expensive,” said Bernardo Hernández, vice president of Flickr when announcing the scheme. “But today, photography has exploded, devices are portable and we see experimentation starting at a very early age. We believe that the best photography will emerge from people who are experimenting at a very young age.”
Hernandez chose the 20 photographers along with a panel consisting of photographers Lou Nobel, Cuba Gallery and Rosie Hardy. The winners (selection of images shown above) will be flown to New York for a gala prize-giving on October 1.
In addition, Vogue phoography director Ivan Shaw has chose Laurence Philomene (seection of images shown below) for the Curator’s Choice Award as part of which, he will mentor her for a year.
See all the photographers and their work here plus details of how to nominate people for next year’s prize
Here are a few of our favourites:
Untitled by Silvia Grav
What Remains by Greg Ponthus
Untitled by Lauren Withrow
Impact by Brian Oldham
Still Floating by Olivia Bee
Seven illustrators including Malika Favre, Mads Berg and Jens Magnusson have created artworks inspired by the Canary Islands for a new online tourism campaign devised by Tenerife design studio 28ymedio and commissioned by the Canary Islands Tourist Board.
Each illustrator was asked to visit a different island and create artwork inspired by their trip. Malika Favre designed a beautiful series of geometric prints (top and below), depicting the local architecture and landscape in Fuerteventura:
Mads Berg visited El Hierro, the smallest Canary Island, and created artwork based on forest and coastal scenes:
Jens Magnusson took a trip to La Gomera (his illustrations feature local flora and fauna):
And Ekaterina Koroleva painted a series of watercolours inspired by her visit to Lanzarote:
Other contributors include Steve Simpson, who visited La Palma, Paula Bonet, who went to Gran Canaria and Ben Heine, who travelled to Tenerife. It’s a lovely set of illustrations, and a great way to highlight the region’s diverse scenery without using stock images of sun, sea and sand. To see the full set, go to onthedraw.travel.
Charming graphic illustrations and delicious photography make Here Design’s Plenty More cookbook for Yotam Ottolenghi a real treat
With TV chefs aplenty, the cookbook market is a pretty crowded place these days. Most follow a pretty tried and tested formula with a portrait of the chef in question on the cover and the standard ‘food porn’ shots inside. With its previous publications such as Bocca, Ceviche and The Geometry of Pasta, however, Here Design have consistently pushed things into more interesting territory.
Its latest collaboration with Yotam Ottolenghi, Plenty More (Ebury Press), is no exception. The cover features graphic illustrations of various pots, pans and dishes (see top) picked out in a spot varnish. The illustrative approach (by senior designer Sakiko Kobayashi who designed the book with Caz Hildebrand) continues on the chapter dividers inside.
There is photography, of course, but Jonathan Lovekin‘s images are exceedingly enticing
Here Design, incidentally, has just shown the first collection of products from a new sister company Ink Works, featuring British made furniture, tableware, signage, and lighting. “The range [named Cognition] is inspired by the mechanics, machines, equipment and skills of Britain’s makers and embodies the spirit of makers and manufacturing processes,” Here Design/Ink Works say.
Sprocket candles
Sprocket candle holders
Baskerville vitreous enamel sign
See the full Cognition range here
Artists and illustrators in Hong Kong and beyond are using internet memes to voice their support for the Occupy Central demonstrators
Thousands of people have taken to Hong Kong’s streets this week to protest against the Chinese government’s plans to vet electoral candidates in the 2017 elections.
Images are being posted on Twitter and Instagram using the hashtag #umbrellarevolution and Kacey Wong, an assistant professor at Hong Kong Polytechnic University, has also set up an Umbrella Revolution logo design competition on Facebook and is posting submissions on his Facebook page.
Andrew Wong
The term ‘umbrella revolution’ refers to demonstrators’ use of umbrellas to shield themselves from teargas and pepper spray, which was fired by police on Monday. Police have been attempting to seize umbrellas but according to the AP, supporters have donated hundreds of replacements.
The umbrella has now become the symbol of the Occupy movement in HK, and has been spray painted on streets and applied to posters and flyers which are being distributed around the area. Protestors are also using their umbrellas as protest signs:
Image via @kimrjensen on Twitter
Image via @MariekeNOS on Twitter
Many memes and posters use yellow, referencing the yellow ribbons worn by protestors and displayed on supporters’ social media pages as a symbol of democracy and universal suffrage.
The flurry of images is reminiscent of those posted online in support of Occupy movements in Turkey and the Middle East last year . In Istanbul, Twitter was used to great effect to distribute imagery promoting the Occupy Gezi movement, including the widely adopted symbol of the Twitter bird wearing a gas mask (also worn by protestors to shield themselves from tear gas). See our post here
Tania Willis, an illustrator based in Hong Kong (whose meme is pictured top), says she felt compelled to create an image voicing her support after watching events unfold online and on TV.
“We already knew about the memes – linguistically – from closely following the #occupyhk twitter. Watching the students firstly being kettled into Civic Square in the dreadful heat, they were protecting themselves from the boiling sun with umbrellas, then a few hours later came the very controversial decision by the police to use tear-gas and pepper-spray on the student protestors. We saw the images of them on TV and all over facebook, protecting themselves with the same umbrellas, hence it became #umbrellarevolution,” she explains.
“Hong Kong has been my home for 20 years, so I feel very strongly about this issue … I really felt that aside from taking supplies, I wanted to respond as designer to this but wasn’t sure how. Right now, Hong Kong seems to be fully-immersed in Occupy, and it’s hard to think of anything else. We are all very struck by the bravery and composure of the protestors,” she adds.
Willis’ image is a modified version of an illustration she did for a children’s book “hence the slightly childish quality,” she adds. “Not very activist in style, but given the sensitive subject matter, perhaps [that’s] not an altogether bad idea.”
You can follow the memes using #umbrellarevolution, #HKartists and #occupyhk
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