Hasta La Ideas

Davide Mazzuchin et Matteo Goi sont deux illustrateurs & infographistes italiens. C’est en collaboration à quatre mains qu’ils viennent de publier une série d’illustrations animées baptisée « Past Action Heroes » en hommage aux célèbres héros de films d’action incarnés par des acteurs comme Chuck Norris, Jean-Claude Van Damme, Arnold Schwarzenegger, Sylvester Stallone et Steven Seagal.

« Hyperjump » est une installation cinétique de lumières réalisée par le collectif russe Tundra et installée dans des espaces d’études aménagés dans un ancien terrain de basketball soviétique, au sein de la Saint-Petersburg State University. 25 spots ont été mis en place, avec un système de son puissant, pour transformer des jets lumineux en des lignes géométriques.

Credits :

Lights: Alexander Letcius, Alexander Sinica, Pavel Zmunchila
Sound: D-Pulse
Technical support: Main Division
Event idea and production: the Dreamers United, Bulat Sharipov
Special thanks to: Saint Petersburg State University, The Riders, Publica

Voici « Color Riche », le dernier film réalisé par le cinéaste français Bruno Aveillan. A travers la mise en scène de mannequins dans différents univers colorés, le spot célèbre la genèse du maquillage et honore sept des muses les plus emblématiques de L’Oréal Paris.

Architecture office Stanton Williams has unveiled its plans to upgrade the entrances and public spaces of London’s Royal Opera House, which have just been granted planning permission.

Stanton Williams, the firm behind the Stirling Prize-winning Sainsbury Laboratory, plans to increase the transparency of the Grade I-listed performing arts venue in Covent Garden, as well as creating a new glazed terrace.

“The Open Up project’s principal objective is to transform the public’s experience of the Royal Opera House at its Covent Garden home,” explained Alan Stanton, who directs the firm alongside Paul Williams.

“We want to bring a sense of the magic that is created each night on stage to the open public spaces for all to enjoy,” he said. “We are delighted that the project can now move forward.”

Stanton Williams was selected for the project in 2013, ahead of studios including Amanda Levete Architects, Heatherwick Studio and Diller Scofidio + Renfro, with a proposal that was described as “showing sensitivity, skill and creativity”.

Working with engineering firm Arup, Stanton Williams intends to expand the building’s foyer at ground level and create a better connection to the neighbouring Linbury Studio Theatre, which will also be redesigned to improve audience and technical facilities.

As well as replacing entrances on both sides of the building to introduce more glazing, a staircase will be added between the main foyer and the glazed conservatory – the Paul Hamlyn Hall – and a new terrace at amphitheatre level will overlook the Covent Garden piazza.

The building, which dates back to 1858, underwent a major reconstruction in the 1990s. The facade, foyer and 2,256-seat auditorium are all that remain of the original structure.

Building work is expected to commence at the end of 2015 and should take two years to complete. The main auditorium will be left untouched so that performances can continue as usual.

The post Stanton Williams wins approval for plans
to open up the Royal Opera House appeared first on Dezeen.

Carriages hurtled around a rollercoaster track during German fashion designer Philipp Plein’s Autumn Winter 2015 show in Milan.

The fully functioning rollercoaster was erected inside the 1920s Palazzo delle Scintille for Plein‘s presentation during Milan Fashion Week last month.

Models wearing monochrome garments from the designer’s collection – titled There Will Be No Miracles Here – walked around the metal structure, installed in the centre of the cavernous space.

The ride was used to represent shapes in the clothing designs and to create an overall feeling of adrenaline for the show, according to Plein.

Plein’s show notes stated that the set design used “parabolic curves and vertiginous slopes as symbols of adrenalinic style and breathtaking glamour”.

At the start of the ride, the carriages were mechanically pulled up a steep slope before plunging down the other side. The momentum propelled the wheeled chain of cars around the track, which looped and cambered within the tight footprint.

Tube lighting was attached to the structure’s vertical elements and wrapped around the five two-seater carriages, with Plein’s monogram emblazoned on the front. The black track was also illuminated by lights underneath the rails.

Spotlights positioned on the floor between the bending track shone beams up to the curved roof of the arena, changing formation while the show took place.

Scaffolding towers around the outside of the runway held further lighting fixtures, positioned between the bleacher seating used by the audience.

Guests were invited to ride the rollercoaster after the presentation, which took place on 25 February.

Other dramatic set designs for the Autumn Winter 2015 shows included Hunter’s catwalk that wove beneath flowing waterfalls and a travelator that carried models around the House of Holland presentation.

The post Rollercoaster provides centrepiece
for Philipp Plein catwalk appeared first on Dezeen.