Hasta La Ideas

Justin Peters est un étudiant en design graphique à Stuttgart en Allemagne. Inspiré des peintres surréalistes et armé de Photoshop, il édite des photographies récoltées sur Internet pour créer des mondes parallèles et oniriques. Entre collages digitaux et imagerie naturelle, l’artiste réussit à créer une autre dimension où, selon lui, « tout est possible quand tu ouvres ton esprit ». Rien n’est attendu, et tout est surprenant dans chaque nouveau collage. Son travail défie la logique, créant une étrange beauté riche d’éléments. Découvrez le reste de son travail sur son site.

Sisters Corinna and Theresa Williams have designed a laundromat in New York to include lounge areas and a coffee shop, as a welcoming alternative to other coin-operated wash places common across the city.

Celsious located in Williamsburg, a trendy area of Brooklyn known for its cafes, bars and loft apartments. The Williams sisters – born and raised in Germany – manage the space themselves.

Laundromats, where anyone can wash and dry their belongings, are ubiquitous across New York as most apartments lack the necessary appliances.

But they are often mundane and uninviting spaces, with nowhere to wait for wash cycles to finish, so Corinna and Theresa saw an opportunity to change this.

Previously a hair salon, Celsious features a double-height glazed front. Its ground floor is outfitted with a front desk, and an open space flanked by steely washers and dryers beyond.

A staircase leads to a lofted area, with a series of tables and chairs and a small coffee bar in the rear.

“There was a mezzanine in the previous space, but it wasn’t structurally sound, so we ended up re-designing and rebuilding the loft cafe, which allowed us to maximise floor space,” said Theresa.

This space, along with a garden at the back, provides users with the opportunity to complete other tasks or just sit and relax while doing laundry.

The duo credits Big Reuse for many of the shop’s details, like tiles on the stairs – some of which are original MTA subway tiles – and marble slabs.

Another reclaimed feature is the cork backdrop above the dryers, which was taken from the original mezzanine flooring.

Theresa sourced a majority of the furniture herself, such as Arne Jacobsen chairs found on Craigslist, while other pieces are reclaimed or IKEA hacks.

Celsious features light and bright tones to add a level of comfort to a place that is commonly thought of as sterile, due to the stainless steel equipment. A vibrant orange logo adds to this welcoming aesthetic.

Instead of stark white, walls are painted in a soft white or cream. The warm tones of natural materials like the reclaimed cork, and solid pine stools made from the shipping pallets, contrast with the washing machines.

“The colour palette was picked to reflect that airiness and welcoming feeling we want Celsious to convey: warm yellows, cozy corals and clean off-whites are needed as a juxtaposition to our equipment’s stainless steel,” said Theresa, who also works as a designer in the city. “The theme was ‘clean’, but ‘friendly’.”

Celsious is also decorated with indoor plants. “We planted on top of our dryers to create a calming atmosphere that makes laundry day a lot less stressful than most of our customers are used to,” Theresa said.

The duo explained that the laundromat’s name, although misspelt for dot-com rights, is a nod to their European upbringing. “We love the metric system,” said Corinna, who is trained as a journalist. “The precision, yet ease of calculating one-hundredth of a metre is a beauty.”

Users pay per wash, just like at a regular laundromat, but a free cup of environmentally safe detergent from The Simply Co is included in the service.

Continuing this energy-conscious branding, the designers also chose Electrolux machines because they are meant to be the most energy-efficient, coin-operated laundry equipment currently on the market.

Employees at the laundromat wear specially-designed aprons by German designer Inga-Lena, who also makes sustainable women’s wear produced in New York.

Other innovative laundromat concepts are one designed like a nightclub with dim interiors and neon lights in Barcelona and a laundromat in Ghent complete with a cafe and hair salon.

Photography is by Pedro Beraldo.

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Icons from Britain’s historic Ordnance Survey maps are reinterpreted as colourful architectural elements in this pavilion designed by Studio Mutt for England’s Lake District National Park.

The studio founded by Graham Burn, James Crawford and Alex Turner, developed the proposal in response to an open call organised by Lakes Culture, the body responsible for promoting tourism and cultural activities in the area.

As part of the Lakes Ignite 2018 initiative, the organisation called for projects that celebrate the Lake District as a “cultural landscape”. Studio Mutt’s response references how people have historically interacted with the landscape, both culturally and physically.

The main point of departure for the project was the Ordnance Survey maps, which have provided detailed information about the topography, buildings and roads of Great Britain since 1745.

The iconic and prosaically functional maps feature symbols, colours and design details that are a familiar part of Britain’s cultural heritage.

Mutt Studio wanted to translate some of these elements into a structure that celebrates the role the maps have played in enhancing the British population’s interaction with the landscape.

“The idea was to not only create an assemblage of OS references but to also create an intriguing and characterful structure which sat boldly in the landscape,” said the architects, “with a presence similar to a small isolated chapel – stranded within the vast rugged landscape.”

The Ordnance Survey Pavilion comprises a cluster of colourful forms compiled to form an interactive and semi-inhabitable sculpture situated behind a pub on the Langdale Estate.

The structure looks out towards the Langdale Valley from its setting on a riverbank between a small lake and the slate slag heap of an old quarry.

Mutt Studio chose to focus on a specific period of the Ordnance Survey’s history as the inspiration for the pavilion: the retriangulation of the country between 1935-1962.

During this period of roughly 30 years, the organisation undertook a laborious process of remeasuring the landscape, often using rudimentary tools and techniques that required a great deal of manual effort.

“The installation synthesises elements from this narrative of retriangulation through a collage of scenes and characters that form a peculiar pavilion, dedicated to the Ordnance Survey,” the studio added.

Various symbols from the OS maps are scaled up into three-dimensional forms that combine with other shapes and details informed by apparatus used by the surveyors during their work.

Black-and-white painted poles that form a framework with a sloping corrugated roof reference ranging rods used for measuring straight lines in the landscape, while a pink truncated pyramid evokes the trig points positioned on top of prominent hills and mountains.

Two of the structures provide inhabitable spaces that function as single-person art galleries displaying imagery relating to both the mapped landscape and the act of measuring.

Nearby in northern England, Charles Holland has created a colourful parrot-shaped pavilion at the Fountains Abbey & Studley Royal.

Studio Mutt designed, fabricated and installed the pavilion, which opened to the public on 27 January. It will remain in place until August 2018.

Photography is by Steven Barber.

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Chantal Frontale est une tatoueuse basée à Nantes. Elle fait partie du «Panache Club», association multiculturelle qui regroupe plusieurs talents: architectes, illustrateurs, graphistes, journalistes, peintres, et deux tatoueurs, qui forment le «Panache Club Tattoo».

Avant de tatouer des corps humains en tant que «Chantal Frontale», elle s’est entrainée en pyrogravant des planches de skate, son nom de scène étant à l’époque « Chantal Tanchal ».
Venant du monde de l’illustration, ses tatouages ​​sont toujours des pièces mignonnes et pleines d’humour. Des lignes simples et de légers détails font partie intégrante Son talent s’exprime à travers des lignes simples et de légers détails.
Donc, si vous voulez vous faire tatouer une moule sur le bras ou un alpaga sur la jambe, rendez-vous au Panache Club tattoo pour la rencontrer!

One hundred drones flew in formation through the night sky to electronic music last week at the opening of Great Exhibition of the North in Newcastle, England.

Leeds-based creative studio Newsubstance orchestrated the autonomously flown, swarm drone performance which featured one hundred drones made by Singaporean company Skymagic.

Equipped with colour-changing LEDs, the drones flew across the night sky to a track written and produced by electronic duo Darkstar that explores the notion of home. Skymagic’s choreography drew upon on the region’s heritage by flying in formation to create motifs such as the North Star.

The performance marked the beginning of a joint venture between the two companies as Skymagic becomes Newsubstance’s exclusive performance drone offer. With offices in Europe and Asia, Skymagic specialises in large scale drone-based light shows across the globe.

“Drone technology is now an established field and in recent years its use in creating aerial displays at large-scale ceremonies and live events has become more prevalent,” Skymagic’s director Patrick O’Mahony told Dezeen.

“While many of these performances have, on some level, been designed as a showcase or platform for tech giants, the work of Skymagic is different,” continued O’Mahony.

“Unlike any of the other companies out there, the team at Skymagic – through its newly formed joint venture with Newsubstance – is able to draw on a rich heritage of technological development, live entertainment experience and performance design.”

“This unique skillset within the team allows us to lead the design and development of the creative rather than simply placing a logo in the sky,” said O’Mahony.

“We understand the show design vernacular and our creative response demonstrates this, telling stories in the sky that always speak to the show and are not just about us and our technology. The show is king.”

“Another point of difference is our mantra that it is not simply about the number of drones in the sky but more importantly the narrative and the number of drones best deployed to represent this,” he added.

“Creativity is key rather than a race to break another world record. That said, it is important to state that our super stable system is, however, scalable with no limitation on airborne fleet size.”

Skymagic said that special effects, cladding, closer proximity flying, longer flight times, and more robust weather resistance are some of the elements that its team of internal software developers and engineers are currently focusing on.

“Drone technology is constantly evolving in what is a fast-paced environment,” said O’Mahony.

“Every day we see new advances in GPS accuracy, battery technology and system efficiencies – amongst other things. Our R&D team is constantly working to utilise and incorporate these advancements in industry technology.”

Hosted in Newcastle, Gateshead, Great Exhibition of the North is a free event that aims to tell the story of the North of England and its innovators, businesses, artists and designers. The event takes place across one of three venues – Great North Museum, BALTIC Centre for Contemporary Art or Sage Gateshead, which will host an 80-day programme of exhibitions and events.”

Other drone-based performances include a show at last year’s Design Miami event by Amsterdam-based Studio Drift, which choreographed 300 drones to mimic a flock of birds over the beach.

Dezeen’s drone documentary Elevation is currently being screened at festivals around the world including in Australia, Kosovo, Pristina and Madrid. The 18-minute film explores how drones will change architecture, cities and society.

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