Basé à Jérusalem, le designer Yael Weiser a imaginé une toute nouvelle identité et image pour McDonald’s Amsterdam. En contraste avec le rouge et jaune criards mais iconiques, il a pensé à du blanc et bleu plus doux pour les différents emballages. Il a également réalisé des illustrations amusantes et des GIF animés pour bien représenter la capitale.
L’Afrique regorge de merveilles pour les photographes. Johan Georget nous offre les clichés issus de son voyage, réunis dans un portfolio intitulé An African Odyssey. L’artiste dépeint à merveille le monde sauvage, la faune et les paysages grandioses du continent. Un hommage sublime à ce royaume où la vie sauvage est reine.
7 heures de patience ont été nécessaires pour saisir la silhouette de ce rhinocéros au crépuscule.
A wooden table lamp designed by architect Frank Lloyd Wright for his 1911 Taliesin house in Wisconsin is now available internationally.
The Taliesin 4 lamp has been released outside of Japan by lighting brand Yamagiwa, which was given permission to reproduce a collection of the late American architect’s lamps by the Frank Lloyd Wright Foundation.
“The Frank Lloyd Wright Foundation has been offering reproductions of Wright’s decorative designs through its licensees since 1985,” said Yamagiwa’s website. “After many successful endeavours, there was a strong desire to offer the public lamps that had been designed for prominent residences designed by Frank Lloyd Wright.”
Wright’s Taliesin 4 design comprises a series of boxes containing the light sources, attached to its stem at alternate perpendicular angles to form vertical layers.
The boxes are open at the top and bottom, allowing the light to reflect off thin flat panels that can be slotted on either above or below each one.
Available in walnut and cherry, the lamp also features red squares up its length where the boxes connect with the stand.
“Wright used his favourite red colour to create the rhythm for this sculpture-like lamp,” said a statement from Yamagiwa. “The red square was used as a [logo] generated by his studio as well.”
Taliesin 4 is the shortest in a series, with editions 2 and 3 featuring longer stems and more light bulbs to provide floor-lamp versions.
“Wright had a great respect to the climate and conditions of the site and space when he was engaged in the project,” said Yamagiwa. “Therefore, the materials and also the scale were adjusted accordingly.”
All three were developed from the Taliesin 1 pendant lamp, created to illuminate a theatre at the architect’s 1911 residence in Taliesin, Wisconsin – the estate where the Frank Lloyd Wright Foundation and Frank Lloyd Wright School of Architecture are both now located.
Related content: see more stories about Frank Lloyd Wright »
The school founded by the architect was threatened with losing its accreditation in 2014, but appointed critic Aaron Betsky as its dean at the beginning of this year.
The Taliesin summer house – along with its winter counterpart of the same name in Arizona – are both nominated for UNESCO’s World Heritage list along with eight more of his most famous architectural works, including the Fallingwater house in Pennsylvania and the Guggenheim Museum in New York.
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Zaha Hadid has completed a museum for renowned climber Reinhold Messner at the top of Alpine peak Mount Kronplatz, featuring underground galleries and a viewing platform cantilevered over a valley (+ slideshow).
The Messner Mountain Museum Corones is the final instalment in a series of six mountaintop museums built by Messner – the first climber to ascend all 14 mountains over 8,000 metres and to reach the summit of Mount Everest without additional oxygen.
Located 2,275 metres above sea level, in the heart of the popular Kronplatz ski resort in South Tyrol, Italy, the building will exhibit objects, images and tools that tell the story of Messner’s life as a mountaineer.
London-based architect Zaha Hadid – already in the news this month after her design for the Tokyo 2020 Olympic stadium was scrapped – designed a structure built into the side of the mountain, emerging only at certain points to offer specific views.
“The idea [is] that visitors can descend into the mountain to explore its caverns and grottos, before emerging through the mountain wall on the other side, out onto the overhanging terrace with its spectacular, panoramic views from Zillertal Alps in the north to the Dolomites and South Tyrol,” she explained.
Three large volumes appear to burst through the rockface, each featuring softly curved forms made from glass-reinforced fibre concrete.
The first two form picture windows, framing views of the Peitlerkofel and Heiligkreuzkofel mountains, while the third is a balcony that projects out by six metres, offering visitors a view west towards the Ortler range.
More concrete forms emerge from the ground to create canopies that frame the building’s entrance.
Zaha Hadid’s firm chose cast concrete to give the appearance of rock and ice shards, referencing the geology of the region.
Glass-reinforced fibre concrete gives the building’s exterior a pale grey tone, while internally the panels become darker – intended to match the lustre and tones of anthracite coal buried underground.
The walls of the building are between 40 and 50 centimetres thick in order to support the structure from the pressure of the surrounding earth, while the roof has thicknesses of up to 70 centimetres.
Inside, galleries are organised over three floors, connected by staircases that the firm described as being “like waterfalls in a mountain stream”.
Zaha Hadid first unveiled the design for the Messner Mountain Museum Corones in 2013 and it opened to the public last week. It joins five previously completed museums dotted throughout the Dolomites, including one created by EM2 Architekten in the 13th-century Castle Bruneck.
“The museum is a mirror of the world of my childhood – the Geislerspitzen, the central buttress of the Heiligkreuzkofel (the most difficult climb in my whole life) and the glaciated granite mountains of the Ahrn Valley,” Messner said in a statement.
“On Kronplatz I present the development of modern mountaineering and 250 years of progress with regard to the equipment,” he explained. “I speak of triumphs and tragedies on the world’s most famous peaks – the Matterhorn, Cerro Torre, K2 – and shed light on alpinism with the help of relics, thoughts, works of art, and by reflecting the outside mountain backcloth in the interior of MMM Corones.”
Project credits:
Client: Skirama Kronplatz/Plan de Corones
Architect: Zaha Hadid Architects (ZHA)
Design (ZHA): Zaha Hadid, Patrik Schumacher
Project architect (ZHA): Cornelius Schlotthauer
ZHA design team (ZHA): Cornelius Schlotthauer, Peter Irmscher
ZHA Execution Team (ZHA): Peter Irmscher, Markus Planteu, Claudia Wulf
Structural engineer: IPM
Mechanical engineer & fire protection: Jud & Partner
Mechanical engineer: Studio GM
The post Zaha Hadid buries a museum in the peak of an Alpine mountain appeared first on Dezeen.
Schengland (2014) by Alan Knox
After touring this year’s degree shows, we’ve selected visual communications graduates from across the UK who we feel have produced outstanding creative portfolios. Here, we speak to photographer Alan Knox, who has just graduated with a first class degree in communication design from Glasgow School of Art and been selected as one of Daniel Blau Gallery’s 5 Under 30.
We were particularly impressed by Knox’s poignant project Universal Sympathy, a series of celestial images made by scattering his grandfather’s ashes onto photographic paper, and Schengland, which features screenshots from Google’s Street View project placed upon images of the Anglo-Scots border. The project was inspired by last year’s Scottish referendum, and debates around whether the country would be forced to erect border controls with England and join the Schengen zone if it became independent.
Knox has taken part in several group photography exhibitions (his work is currently on show at Daniel Blau Gallery in London) and this year, received the School of Design Chairman’s Medal and Dissertation Prize from Glasgow School of Art. He has also undertaken work experience as a visual intern at the Financial Times.
Universal Sympathy (2015) by Alan Knox, courtesy of Daniel Blau Gallery
CR: When did you first become interested in photography?
AN: Although I’d always enjoyed taking photographs, my first memory of wanting to become a professional photographer came after viewing the 1990’s BBC TV series Shooting the Past directed by Steven Poliakoff. I remember watching it and being captivated by a film where the story unfolded through still photographs, it was then that I first realised the narrative potential of photography. Later, whilst studying for an HND in Professional Photography at City of Glasgow College, I attended a class trip to an exhibition of the work of Japanese photographer Hiroshi Sugimoto, where I remember being overwhelmed by the sheer scale of both the physicality of the prints and the ideas on display. It was this exposure to conceptual photography during college which confirmed to me that this was where my passion lay.
Universal Sympathy (2015) by Alan Knox, courtesy of Daniel Blau Gallery
And why did you decide to study communication design after doing a photography HND? What were the most important things you learned from the course at Glasgow School of Art?
Studying communication design at Glasgow School of Art has allowed me to specialise in photography whilst working in a studio environment where students working in photography, graphic design and illustration are encouraged to adopt a cross-disciplinary approach and collaborate across specialisms.
Being part of this environment has encouraged me to constantly question the nature of photography from different perspectives and as a student, you are always encouraged to draw outside interests and theory into your practice. The design oriented nature of the course has also pushed me to develop new skills such as book-making, allowing me to produce a book of my Universal Sympathy project. Whilst working on my final year project, Universal Sympathy, the encouragement I received from my tutor Andy Stark was invaluable, who always reassured me my project was as much universal as it was personal to me.
Universal Sympathy (2015) by Alan Knox, courtesy of Daniel Blau Gallery
Universal Sympathy is a beautiful project. How did the idea for it come about, and how did you create the images?
In this project, I sought to explore the relationship between photography, death and the sublime. Several years ago I began documenting the process of scattering my grandfather’s remains in places which were personal to him during his life. Over time however, it seemed that for such a sensitive subject matter, a more compelling way to document this process would be to convey only the trace of the ash. The most natural way of doing this appeared to be the photogram which, since photography’s inception, has been used as a way of conveying universal truths not immediately perceptible to the naked eye. This involved scattering my grandfather’s remains directly onto a roll of photographic paper one metre wide and exposing them to light in the darkroom. Once exposed, the shadows cast by my Grandfather’s remains appear as stars against an inky black sky. From the remains of the body, I attempt to reassemble a primordial unity with the cosmos in which each speck of dust comes to symbolise the Moons of Saturn, supernovae, asteroids, galaxies and planets of which we are all derived.
Here my interest lay in using photography to elevate a finite subject matter such as ash to the level of the infinite expanse of space, and hopefully convey Immanuel Kant’s belief that all human life is by its very nature sublime, for no infinity in nature or space could ever match the infinite scope of the human mind. Condensing this project into a photobook, Made of Stars, I hope that the viewer may perceive a narrative which traces events from my grandfather’s life on a cosmic scale: from the earliest birth pangs of a newborn star to its final collapse into a black hole.
Universal Sympathy (2015) by Alan Knox, courtesy of Daniel Blau Gallery
Are there any photographers or other creatives who have been a particular influence on your work?
My recent practice has been greatly inspired by artists and photographers whose work has explored the theory of the sublime as it relates to the boundary between the finite and infinite. The belief held by Hiroshi Sugimoto that through photography one can raise primordial memories to consciousness has been an immense inspiration whilst working on Universal Sympathy, as I sought to provoke a memory of mankind having originated in the Big Bang.
Whilst studying how the feeling of the sublime has been historically evoked in both art and science, I was fascinated to learn that astronomers at the Hubble Heritage Project were inspired by landscape painters working in the sublime tradition such as Thomas Moran and Albert Bierstadt when composing astronomical images such as the Pillars of Creation. Learning to structure the compositions as you would a landscape helped me to guide the chaotic pattern of ash which formed each time I scattered them on paper.
Made of Stars, Knox’s final degree show project, featuring images from Man in the Moon & Universal Sympathy
How would you describe your work, and where do you look for inspiration?
I would describe much of my recent photography practice as conceptual and in this respect, I’m always trying to explore the boundary of the personal and universal. I’ve always been fascinated by both astronomy and astrology, especially the knowledge that all life originates in the stars, as the astronomer Carl Sagan said, “We are made of starstuff.” For photographers such as the 19th century Swedish playwright August Strindberg, the photogram was a space where nature and the heavens collide. Creating so-called celestographs by placing photographic plates face up on the ground where once exposed, Strindberg perceived the grains of dust as a photographic imprint of the skies above.
During my studies I was greatly inspired by conceptual photographers including Sugimoto, Thomas Demand, Joan Fontcuberta, Paul Graham and Thomas Ruff. This past year I’ve also really enjoyed the work of Peter Watkins, Barry Hughes, Peter Puklus and Aleix Plademunt. Whenever I’m frustrated creatively, I’m always reminded of a quote by the photographer Alex Webb: “If your photographs aren’t good enough, you’re not reading enough.” With this in mind, I try to draw as broad an influence from literature and theory as possible, from T.S Eliot and W.G. Sebald, to Derrida, Adorno, Zizek and Lacan.
Man in the Moon (2014) by Alan Knox. Knox re-photographed large format black-and-white negatives from his family archive, holding images to the sky to be backlit by the reflection of a full moon
And could you tell us a little more about Schengland?
As an art student studying in Scotland during the referendum debate, I felt compelled to document the sea-change in political engagement which was happening during this time. This eventually lead to a landscape project which documented the Anglo-Scots border and the dirt paths which had been established to open access across the border counties. One fear raised by those arguing against independence was that an independent Scotland would lead to the erection of border controls with England should Scotland be forced to join the Schengen zone as a condition of EU membership. Trailing Google Street View’s imagery of the eastern European Schengen border with non EU nations, I was fascinated to see border checkpoints still operating in a similar geography to the one I had been photographing in the Borders region
Designing mock road signs pasted with blown up screen grabs of Street View imagery from the eastern European Schengen border and installed on the pathways between Scotland and England, I hoped to illustrate the consequences of European integration on calls for greater regional sovereignty which the independence referendum debate exposed, whilst further highlighting internet imagery’s often contentious role in documenting border relations.
Schengland
You’ve been selected as one of Daniel Blau’s 5 under 30. What impact has being selected, and having your work in the gallery, had so far?
Exhibiting at the Daniel Blau Gallery alongside Julia Parks, Melissa Arras and Michael Radford and has been both an honour and an invaluable experience in learning how commercial galleries work with photographers. The most humbling response I’ve received so far is when people have told me that viewing the images has had a healing effect following their own experience with bereavement. I was relieved to discover during the exhibition that others found solace in a project which was originally so personal to me. Whilst I had considered the work resolved, exhibiting the images publicly has inspired me to find new ways to continue the project.
You’ve also taken part in a number of group shows. How useful has this been for you, in terms of making contacts, or getting exposure for your work?
Taking part in group shows has been very important in forming contacts with exhibitors and other photographers. Entering Schengland as part of the open call for the European Prospects: Celebrating Europe group exhibition at Kaunas Photo Gallery in Lithuania allowed me to attend portfolio reviews with industry specialists and professional photographers from across Europe, and after seeing Schengland exhibited in Lithuania, Malcolm Dickson, the director of StreetLevel Photoworks in Glasgow, invited me to exhibit as part of Carlisle Photo Festival and give talks on the project. These are experiences I’m very grateful for. Photography can often be quite a lonely pursuit so taking part in group shows has been great way to make contacts with other photographers who inspire you to continue working on personal projects.
Schengland
What are you plans and hopes for the future now you’ve finished university?
In August I will exhibit in Futureproof alongside other recent photography graduates from Scottish art schools and colleges at the Peacock Visual Arts gallery in Aberdeen. I recently completed an internship at the Financial Times which gave me the opportunity to shoot editorial photography for special reports. This was an experience I really enjoyed and an area where I hope to gain more experience in the future. I also really enjoyed the process of making a photobook and I’m hoping to be able to publish Made of Stars in a larger print run.
And are you working on anything at the moment?
I’m currently working on a conceptual documentary project called Uncanny Valley, exploring the village of New Lanark in the Clyde Valley. During the 19th century the village became world famous as one of the earliest examples of a fully functioning, socialist utopian community. Today it survives as a thriving tourist site and my interest lies in documenting how the village’s world heritage site status affects the residents for whom this symbol of a bygone utopian ideal is simply called home.
Alan Knox is also featured in CR’s Talent Spotting project, in association with Creative Translation, that will put work by 20 graduates on over 1,000 JCDecaux digital screens across the UK throughout August.
See more of his work here.
One of the perks of a owning smartwatch is that you can quickly change the entire digital face. Now the L.A.-based Covair Watch Company is betting that consumers will want to do that with analog watches as well. Hence they’ve designed a watch base that will accept multiple faces that the user snaps in and out, as well as a much more ergonomic way to change a watchstrap:
I was skeptical when I heard about the concept, but the video definitely reeled me in a bit. They do make it seem very easy to switch the faces, and I was impressed by the band-changing mechanism, which seems so simple it makes me wonder why no one else had thought of it yet.
Now the question is whether the watch-buying public—of which I am admittedly not a member*—will cotton to it. Covair launched a Kickstarter campaign yesterday morning, and it’s too early to tell if they’ll hit their $55,000 target.
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*Regular readers will remember how excited I was by the Apple Watch announcement, and how I envisioned it solving a lot of my problems. But when I finally got into an Apple Store to touch a demo unit, I could not figure out how to work it. I’m either getting old or the UI is legitimately confusing. There was also no way to try one on for size.
Those setbacks combined with mixed reviews meant I couldn’t justify spending the money. These days the only thing I wear on my wrist is a dog leash attached to two Shiba Inus dragging me toward a fire hydrant, and when I want to know the time on the street, I walk past a parking meter since they all now have built-in clocks.
Growing up in Baton Rouge, Louisiana, artist Matt Kenyon was equally inspired by the DIY punk aesthetic of the Dead Kennedys’ Jello Biafra and his seminal quote “Don’t hate the media—become the media” and Mark Pauline of Survival Research Laboratories……
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It’s easy to understand why photographers turn to Leica. Simply put, they’re beautifully designed, highly durable and capture superb images. The new Leica Q—a powerful, compact digital camera with a 24MP full frame sensor—lives up to the promise. The……
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Ever intrigued by designers and their exploration with materials and forms, Baharat the work of Hozan Zangana caught our eye. ” Creating forms by letting my heart guide my hands while silencing my mind”, Hozan’s experimentation across several mediums has resulted in such interested pieces. Trained as a whitesmith, Hozan graduated from the Design Academy in Eindhoven in 2012.
Continue reading for more of his inspiring designs..
Other works by Hozan Zangana..
“My teenagers refuse to put their dishes in the dishwasher. So I put this above the sink,” Redditor labuzan wrote in his headline submission to r/funny last week.(Read…)
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
