Hasta La Ideas

Lucie Birant est une illustratrice basée à Paris qui combine des dessins photoréalistes avec des éclaboussures de peinture. Elle la compose chaque fois comme des collages, en montrant du contrôle et de la spontanéité en meme temps. L’influence de la mode et présente dans ses illustrations, et elle compte Chloé, Lancôme et Diesel parmi ses clients. Plus de son travail sur Instagram et Behance.

Ce magnifique journal visuel de Sonia Szóstak documente un voyage à travers la Bolivie et le Pérou. Du parc national Eduardo Avaroa en Bolivie au sommet de la montagne Ausangate au Pérou, Szóstak dévoile des paysages sculptés par le soleil, le vent et la lave — des terrains étranges rarement conquis, et d’une beauté à couper le souffle. « L’altitude se traduit par simplicité, » dit la photographe. « Plus on se lève, et moins il y a de détails. » Suivez la sur Instagram.

We’ve seen Nixie-tube-based clocks before, but Italy-based Igor Gudiy has taken them to another level. Under the shop name NixieHorizonte, Gudiy is selling Nixie-tube wristwatches of his own design on Etsy:

The watch can display the time in either 12- or 24-hour format, as well as the date and even the temperature, thanks to an onboard sensor.

The user can choose from seven different brightness levels for the tubes, and they’re not always on; you can either choose to illuminate them at the press of a button, or set it so that the built-in accelerometer detects when you’ve raised your arm to check the time and the tubes will then kick in. The user sets the illumination duration.

The body is milled from aluminum or brass, and the protective screen is Gorilla Glass. Surprisingly, the watch only weighs 70 grams (2.5 ounces).

The watch comes with a docking station made from wood and brass, and it charges via magnetic contacts. The battery life is “2-3 weeks with the accelerometer mode or over 1 month with manual ignition.”

Each one is made to order and will set you back $852.

Visitors to Yayoi Kusama‘s new exhibition at The Broad are only allowed to spend 30 seconds inside each installation, to prevent selfie-takers causing big queues.

The Los Angeles gallery has imposed the strict time limit on Infinity Mirrors, a series of six installations by the Japanese artist, in a bid to keep people funnelling through quickly.

Vistors will have to ensure they take any photographs within their 30-second window, before being moved on.

A post shared by Courtney Duncan (@courtneydduncan) on Oct 21, 2017 at 9:28pm PDT

The six Infinity Mirror Rooms are small boxes that use light and mirrors to create visual trickery.

The so-called “selfie rule” is expected to prevent these spaces becoming too crowded – avoiding accidents like the one last year, which saw one of Kusama’s iconic pumpkins smashed by a clumsy visitor trying to take a picture of themselves.

It should also increase the amount of people able to visit the exhibition without one of the 90,000 advanced tickets, which sold out in a matter of hours.

But according to Artnet, those invited to the exhibition’s preview last week were “stressed” by the new rule.

“I got a little stressed because you had like one second to take pictures,” said a visitor when stepping out of The Souls of Millions of Light Years Away artwork.

A post shared by L.A. Downtown News (@ladowntownnews) on Oct 23, 2017 at 2:09pm PDT

During its time at London’s Victoria Miro gallery last year, Kusama’s Infinity Mirrors exhibition was endlessly shared on Instagram by visitors.

Similarly, The Broad – with its cave-like interior and striking white facade – was one of the most Instagrammed art galleries of last year.

The gallery has now created a specific Instagram location tag for Kusama’s exhibition, which is already filled with pages of selfies.

Although Kusama’s work has gained a much larger audience in recent years, the artist has been practising since the 1960s.

She famously creates all of her work in a studio near the Tokyo psychiatric facility in which she has lived, voluntarily, since 1977, having reported experiencing visual and auditory hallucinations her whole life.

A post shared by Dennis Rünger (@kar0shi) on Oct 22, 2017 at 7:41pm PDT

Prior to her admission, she spent a period of time living and working in New York City, where she was part of the avant-garde art scene.

Her life and works have recently been immortalised in a children’s book by illustrator Ellen Weinstein and MoMA curator Sarah Suzuki, which documents her journey to success through painterly illustrations.

Yayoi Kusama: Infinity Mirrors opened to the public on 21 October 2017, and is on show at The Broad until 1 January 2018.

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Designed and built by Actual/Office Architects, this vacation home in upstate New York consists of two nested volumes wrapped in angled screens made of blackened wood.

The Sleeve House sits on a gently sloping site in the bucolic Hudson River Valley, about two hours north of New York City. Built as a speculative development, the residence is envisioned as a countryside retreat for art-collecting urban dwellers.

Orthogonal in plan, the two-storey dwelling consists of a long, linear volume nested within a larger, wider volume.

“Oriented in relation to the sloping terrain and views of the mountain ranges, the house is conceived as two elongated volumes – a smaller one sleeved into a larger – sitting on a cast-in-place concrete base,” said Actual/Office Architects, or A/O, a Brooklyn studio led by architect Adam Dayem.

“The project strives to create a striking appearance on the landscape and unique spatial experiences for its inhabitants, while also containing comfortable, livable domestic spaces.”

The volumes are wrapped in slanted wooden screens, giving the effect of a leaning house. The wood was charred using shou sugi ban, a traditional Japanese technique.

“Boards of varying thickness and depth are placed flat and on-end to give the facades depth, pattern and texture,” the team said. “The on-end boards run continuously as screens over windows on the long sides of the house to emphasise purity of the sleeved volumes. The short ends of both volumes are glass walls to maximise views of the surrounding landscape.”

Inside, an entry gallery and narrow staircase are placed in a slot between the inner and outer volumes. The kitchen, dining area, and living room are situated within a split-level zone featuring concrete stairs and partitions, and a ceiling made of blackened wood. A sloping glass wall offers views of the surrounding valley and mountains.

“These spaces are on a grand scale and are finished with hard, rough materials, including exposed concrete and charred wood, which run continuously in from the exterior,” the team said.

Bedrooms, a bathroom and a study sit in the elevated smaller volume. More intimate in scale, the private spaces features soft materials such as carpet and drapery.

“The experience of passing from these hard, large-scale spaces into the interior of the inner volume is like entering a different world,” A/O said.

The residence has a number of sustainable features, including a solar power system, radiant heating, triple-glazed windows, and a heat and energy recovery ventilation system.

“The project is built to be as energy efficient as possible given the amount of glass in the design and, as a development project, the need to control up-front costs,” said the studio, which added that this speculative project offers an alternative to the conventional architect-client relationship.

“The project was realised as architecture and development. This model of design is seen to be more in the vein of other disciplines – product design, couture fashion, high-end automotive design – where an object of desire is delivered fully formed to the user.”

Architects also served as developer at nearby Hudson Woods, a development of Scandinavian-inspired cabins that was designed and built by Lang Architecture.

Photography is by Michael Moran (OTTO).

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