Brian Roettinger creates Kesha-shaped candle for her High Road album

High Road album by Kesha with her art director Brian Roettinger

Graphic designer Brian Roettinger has created psychedelic visuals for Kesha’s album High Road, featuring an album cover depicting a candle made from a 3D scan of the pop star.

Roettinger, who has worked with artists including Jay Z, Childish Gambino and Florence and the Machine, is in an ongoing collaboration with Kesha as art director of her High Road album and tour.

The album art is a photograph taken of a life-like Kesha candle with drips of melting wax.

High Road album by Kesha with her art director Brian Roettinger

“We 3D scanned her and then from there, we created a mould and made candles of her head,” Roettinger told Dezeen. “That became the iconography for the album. It’s a picture of her but it’s not really a photo of her. It’s like a version of her.”

The melting effect, Roettinger explained, is meant to represent how “nothing is permanent”.

“When you think of a bust in a museum or gallery, it feels like it’s a thing that represents permanence, like this an everlasting objects,” he said. “By making this object into a candle it contrasts that.”


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A post shared by Kesha (@iiswhoiis) on Jan 31, 2020 at 3:40am PST

For her fourth album, Kesha examined themes of resurrection, rediscovery and joy, in response to her struggle in the music industry.

In 2014 the singer, formerly known as Ke$ha, sued her producer Dr Luke, accusing him of rape and attempting to be released from her contract with him. Dr Luke has countersued, accusing her of defamation.

“I feel like I had to address some very serious things, and now this time around I have reclaimed my love of life,” Kesha said in a statement to Rolling Stone about her new album.

“To quote one of my favourite songs of all time I’ve decided to ‘fight for my right to party!'”

High Road album by Kesha with her art director Brian Roettinger

High Road’s album art, with it’s melting wax version of Kesha’s face, is a “subtle” nod to this process of metamorphosis said Roettinger.

“How can she shed some of her last record but also take some of her past? Like, how can you like go through this sort of changing effect as an artist,” he explained.

“It’s not necessarily a rebirth, it’s more ‘I want to go back to who I was’, in a way.”

High Road album by Kesha with her art director Brian Roettinger

Kesha posted a video of candle burning in reverse, so that it transforms from a melted stub to her full face, to announce her album launch.

Roettinger said that the candles will also be available as merchandise for fans to buy.

“People can burn their own candles and photograph it, and there’s your version of the album cover,” he said.

Kesha and Roettinger used this metaphor of melting wax for a set used for her live performance at the American Music Awards.


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A post shared by Kesha (@iiswhoiis) on Jan 29, 2020 at 12:24pm PST

Roettinger created a set of stained glass church windows that appear to be warping and melting, with the glass creating a puddle of acid-bright colours.

“What I like about creating this album is that everything is approached as a metaphor. So they’re these distortions of reality,” he said of the “psychedelic, but abstract” design.

“It’s almost like this church is melting or crying, either one, it depends on how it’s lit.”

The juxtaposition of something melting away but in bright and happy colours underscores the album’s theme of defiant optimism.

A frame of milled wood forms the base of the set, which was sprayed with foam and then sanded into shape before being painted and coated with resin.

Next Roettinger is collaborating with Kesha on the sets for her upcoming world tour.

“All I know is it’s going to be much different than anything she’s done,” he said. “So that’s exciting.”

Roettinger’s partner in Willo Perron & Associates, Willo Perron, recently created an architecture-inspired set for Rihanna‘s show at New York Fashion Week.

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Architecture and design events in March 2020 from Dezeen Events Guide

Dezeen Events Guide March

Melbourne Design WeekHomexpo IsraelDesignMarch in Reykjavik and the Collectible design fair in Brussels are among the architecture and design events featured in Dezeen Events Guide this March.

Other events taking place include the Asia Pacific Architecture Festival, Boston Design Week and the Cambio exhibition by design duo Formafantasma at London’s Serpentine Sackler Gallery.

To mark the show’s opening, Dezeen’s chief content officer Benedict Hobson will be hosting a talk with Formafantasma’s Simone Farresin and Andrea Trimarchi on Tuesday 3 March, exploring wood and its environmental impact as a material. Watch the live stream of the talk Dezeen from 5pm on 3 March.


Now in its twelfth year, Iceland’s annual design festival will once again be taking over venues across the capital Reykjavik from 25 to 29 March.

Things will kick off with a day of talks, all about how the industry can respond to the mounting global challenges facing us today.

Speakers will include Michael Pawlyn of Architects Declare, Dezeen Day speaker and biofabrication designer Natsai Audrey Chieza and – for those that didn’t manage to catch them in London – Studio Formatantasma.

Dezeen will also be in attendance, so keep an eye on our DesignMarch coverage for the latest news and projects.


From 5-8 March, the Vanderborght Building in Brussels will play host to the Collectible fair, which is dedicated to contemporary design and, much like an art fair, will feature stands from different galleries including Maniera, Valerie Traan and Todd Merrill.

Although the works on show come from more than 100 exhibitors, all are either unique or were produced in limited runs, meaning they are designed to be collected.

This year will see the introduction of a new Bespoke category, which will feature special commissions from Belgian designers Ben Storms and Xavier Lust, as well as a slew of international delegates.

Melbourne Design Week

More than 300 talks, exhibitions, tours and workshops will be taking place in the city between 12-22 March, all in service of the question: How can design shape life?

Highlights from the speakers’ programme include Francis Kéré, who will be exploring the importance of a collaborative and contextual architecture practice, as well as Fairphone founder Bas van Abel’s lecture on socially and environmentally conscious design.

The winner of this year’s Australian Furniture Design Award will be announced on March 20th, with projects by the five finalists on show throughout the week in a dedicated exhibition.

Homexpo Israel

This year will see the inaugural Homexpo Israel taking place in Tel Aviv from 3-6 March, with a focus on design, furniture and home renovation.

Set in the city’s Expo halls, the programme will run the gamut from exhibitions to professional consultations and lectures, including two from Dezeen’s founder and editor-in-chief Marcus Fairs on the opening day.

Postponed events

A number of events that were set to take place this month were either cancelled or postponed due to concerns surrounding the escalating coronavirus epidemic.

Design Shanghai is now set to take place in May, while the city’s Festival of Design architecture conference was cancelled completely.

Frankfurt’s Light + Building fair has been moved to September, as travel restrictions and increased health checks for Chinese travellers threatened to prevent both exhibitors and visitors from attending.

In anticipation of continued disruptions to business and travel in northern Italy, Salone del Mobile, the world’s largest and most important furniture fair, also announced this week that it will move from its traditional April slot to 16-21 June.

Dezeen’s guide to Milan 2020

In line with the Salone del Mobile’s decision to postpone to June, Dezeen’s digital guide to Milan design week will also shift to reflect the new dates. Click here for more details of how to get your event listed.

About Dezeen Events Guide

You can refer to the Dezeen Events Guide for up-to-date events information, including essential timings and locations.

The guide rounds up the best architecture and design happenings around the world, including conferences, trade fairs, design weeks and exhibitions.

For details of how to get your event listed in the guide, email or visit the guide’s “About” page.

The illustration, featuring the Hallgrímskirkja church in Reykjavík by architect Guðjón Samúelsson and the northern lights, is by Rima Sabina Aouf.

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Clavel Arquitectos reveals longest cantilevered swimming pool in Europe

Longest overhanging swimming pool in Europe at Odiseo casino in Murcia, Spain, by Clavel Arquitectos

Clavel Arquitectos has released a film of its founder Manuel Clavel swimming in a 42-metre-long pool that cantilevers from a casino complex under construction in Murcia, Spain.

The swimming pool, which will form part of the Odiseo casino and leisure complex, cantilevers 20 metres on each side of central supports.

According to Clavel Arquitectos this makes it the longest overhanging pool in Europe.

Longest overhanging swimming pool in Europe at Odiseo casino in Murcia, Spain, by Clavel Arquitectos
The swimming pool has the longest overhang in Europe

Studio founder Clavel Rojo took the first swim in the pool to mark the completion of its construction.

“We looked to the tradition whereby the creator has to test first his own creation,” he told Dezeen. “This is something really imbricated in the pop culture, just think about the crazy scientist that tries some new vaccine on himself.”

“Obviously the structure is totally safe but definitely there was some reluctancy to be the first to try it,” added Clavel.

“So we thought it was powerful that I was the first to try it – jumping into the pool inn speedos in frozen water, that talks about the way we see life and architecture in my office.”

Longest overhanging swimming pool in Europe at Odiseo casino in Murcia, Spain, by Clavel Arquitectos
It is cantilevered 20 metres on either side of the lift cores

When the building is complete, the swimming pool will be located within an elevated forest that is being built as part of a leisure complex on the outskirts of the town of Murcia.

The forest, which will be enclosed by a latticework of pipes to help shade the plants, will stand on top of the three-storey building that will contain a casino, as well as a nightclub and restaurants.

Longest overhanging swimming pool in Europe at Odiseo casino in Murcia, Spain, by Clavel Arquitectos
The pool is being built as part of the Odiseo casino

The swimming pool will be part of a raised platform that is cantilevered on either side of two lift cores.

According to Clavel, the pool’s large overhang was a result of the client making the decision to add it to the project once construction had begun.

“Even though the pool was in the first sketches of the building the client discarded it before we started the detailed design,” he explained.

“They only decided to build it when the project was halfway of the construction process. That meant the structure was not ready to resist that new weight, so we came up with the idea of supporting it over the two more rigid existing elements, the stairs cores.”

Longest overhanging swimming pool in Europe at Odiseo casino in Murcia, Spain, by Clavel Arquitectos
It projects out of the building’s facade

“We strictly reinforced those foundations, not been able to touch the building in any other point. On the other side we clearly had to go through the façade to get views from the pool to the horizon,” continued Clavel.

“Once it was clear that it was going to be a very extreme structure we just pushed it a little further, to the limit, producing this really fun experience for the users of swimming in a 20 meter cantilever, second in the world and probably the slimmest as far as we know.”

Longest overhanging swimming pool in Europe at Odiseo casino in Murcia, Spain, by Clavel Arquitectos
When complete the casino will have an elevated forest

Clavel hopes that the building can bring excitement to the city of Murcia, which was heavily impacted by the financial crisis.

“Consider that Murcia, the city where Odiseo is being built, is as a small city, far from everywhere and extremely hit by the last crisis that devastated not only the economy but somehow the citizen’s self-esteem,” he said.

“Cities like this have heritage, great architecture since Roman times. The question is: What is the architecture we are building for the next generations? Not every building but specifically some public architecture has the responsibility of being meaningful and fulfil the human need for monumentality.”

Clavel Arquitectos has offices in Spain, Miami and Dubai. The studio previously designed a concrete house near Murcia that has a ten metre cantilever.

Photography is by David Frutos and videography is by Gonzalo Ballester.

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A Funko Figurine to Support Australia

Le bilan est lourd en Australie, où des feux ravagent le pays depuis septembre. Si la plupart des incendies ont été maîtrisés, en partie grâce à de fortes pluies, l’on dénombre pas moins de 10 millions d’hectares partis en fumée, 33 morts et plus d’un milliard d’animaux tués. Pour apporter son soutien au pays, le fabricant de jouets américain Funko a créé une figurine en édition limitée, à l’effigie des pompiers australiens.

Avec ce jouet nommé “Bushfire Heroes” qui représente un soldat du feu et un koala, la marque s’engage aux côtés des associations de protection des animaux. L’intégralité des ventes de ces figurines – vendues à 19,99 dollars l’unité – sera en effet reversée à la Royal Society for the Prevention of Cruelty to Animals (RSCPA National). Actuellement disponibles en pré-commande sur le site Popcultcha, les jouets seront livrés dès le mois de juin 2020.

Your Eyes Big Mug

Handmade in London, artist Louise Madzia’s ceramic Your Eyes Big Mug contrasts an elongated handle with an equally unusual figurative artwork on its body. The screen-printed character bears more than a dozen eyes along its face and body—and a reach that also defies normal proportion. Yowie recommends that you only hand wash this mug to refrain from breaking the handle.

Is the future of fashion gender fluid?

The growing influence of Gen-Z is helping shape the new landscape of gender-bending fashion brands and retail experiences. We speak to Scandi label Rains and Open Studio’s Sara Hildén Bengtsson about where unisex fashion is set to head next

The post Is the future of fashion gender fluid? appeared first on Creative Review.

A brief encounter with Ai Weiwei

Artist Ai Weiwei brought his usual frank honesty plus insights on art, politics and life to a recent press conference to promote his collaboration with DIY brand Hornbach. CR editor Eliza WIliams was there to bear witness

The post A brief encounter with Ai Weiwei appeared first on Creative Review.

A Winter’s Walk Through Bask Country

Pour la plupart des gens, une promenade au bord de la mer en février n’est pas vraiment un plaisir. A la Côte des Basques, ils pensent exactement le contraire, particulièrement quand les beaux jours arrivent Espagne à cette époque.

Le photographe Yaan B., capture son expérience dans laquelle il dit que la plupart des années, février est un moment pendant lequel il est « habitué à se promener en ville juste en t-shirt et à rencontrer des amis » pour profiter des couchers de soleil au bord de la mer.

En cette occasion particulière, Yaan et ses amis ont eu droit à des couleurs majestueuses dans le ciel et il était dans la bonne position pour capturer et partager avec nous.

A love letter from designer Paula Scher

Designing a logo for any corporation, brand or cultural organisation today almost invariably requires that the designer also create a bespoke font to accompany it. Sometimes the font is derived from a newly designed mark that has some form of an eccentric character and can be extended to create an entire font. Or the font can be created from a wordmark that could also be extended to a complete alphabet. The font would have to have enough specific idiosyncrasies to create a recognisable visual language that separates it from its competitors.

So much of this activity is facilitated by today’s excellent software in the hands of knowledgeable and talented type designers. I would argue that the technology, talent and knowledge of typographers today make it the best period for typography and type design in my life as a practicing designer. This type movement continues to grow and there is so much wonderful craft to be admired now. But the most recognisable font I have ever seen came out of a logo was designed in the 1960s. The man who designed the font was my future husband, Seymour Chwast. The name of the font was Artone.

In 1964, Seymour designed a package for Artone Ink, a relatively small company that manufactured art supplies. He designed the lowercase letter ‘a’ with a very extreme, extended lower half. It looked like an ink drop and read as an ‘a’.

The little ‘a’ with a big bottom was instantly recognisable and the package was beautiful. Seymour proceeded to design a whole font of drip-bottom characters. The font appeared on promotions for Artone inks, but other than winning awards in the design field, the font had little impact with broad audiences. The client never maintained ownership over the font, which would be the norm today. Seymour allowed Photo-Lettering, a popular US phototype company, to sell the font, and he maintained a small royalty.

The font became a hit. There were many rip-offs of Artone. All a type company had to do was alter the font very slightly and change its name. In the days before type trademarks and licensing this was very easy to accomplish.

I began to recognise the font Artone when I was a sophomore in college in 1968. It was everywhere. It was a ubiquitous youth culture font. You found it on paraphernalia in head shops, on record covers, underground comics and newspapers, and in youth-culture clothing stores. There were many versions of it, but none as good as the original. Little by little I began to recognise the bastardised versions as different from the original.

At that time, I had no idea Artone came from a logo on an ink bottle package. I thought it looked the way it did because it was visually related to bell-bottom pants, which were all the rage back then (wide-bottomed legs and wide-bottomed letterforms). I assumed it was a hippie font, the way I assumed that fonts that looked like Helvetica and Univers were establishment fonts. I was a hippie of sorts, so Artone was my font.

A year later, in 1969, I began my major in Graphic Design and found out about the Artone ink-packaging. I learned who Seymour Chwast and Milton Glaser were, and I learned about the work of Pushpin Studios. In my beginning days of design I didn’t understand typography. I didn’t understand the Swiss International style. I couldn’t recognise the difference between Helvetica and Univers. (Sometimes, I still have difficulty with that.) But I could always recognise Artone. I could even recognise the rip-offs. It made me love typography.

Seymour has designed a lot of fonts over the years and has sold them through the now defunct Photo-Lettering. (Some of the Photo-Lettering fonts were picked up by House Industries.) Seymour never mastered typographer’s software, and he still draws fonts by hand for his books and posters.

All of the fonts have a recognisable character, but Artone is the only one that coupled with all the bastardisations, came to represent a decade. I don’t know if all the carefully trademarked, licensed or bespoke fonts that are designed today to represent corporation, brands and cultural organisations will ever be able to accomplish that now. Maybe it’s impossible.;

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The future is weird but familiar in Three’s mini sci-fi film

Often, advertising is about the one big idea, but Three’s Real 5G ad bucks that trend, making it instead about dozens of small ones. The film, directed by Ian Pons Jewell, transports viewers into a future UK, where 5G reigns supreme, Tinder has gone holographic and Greggs is delivered down a remote-controlled chute.

“We wanted to create a future that was recognisable, but also like nothing you’ve ever seen before,” says Creative Adam Newby. “Even though everything’s a bit absurd, and a vision of the future, it’s believable.”

According to Newby, the ad was a mix of visual effects created by The Mill, and real-life production design – for example, the futuristic airplane and newsagents. A few extra tricks, such as rigging a camera to resemble a giant earhole, also helped achieve some of the ad’s weirder moments.

Thanks to its mix of digital and physical craft, the film is absolutely packed to the gills with details, and it’s only on repeated viewings that you’ll catch them all – such as the plane named Spacey McSpaceface, or the floating triple-decker bus. There’s definitely a few Black Mirror-esque elements as well, including the real-time face filters or the mutant finger-headphone hybrid.

Newby says that creating the ad was a race to stay ahead of what was going on in the real world – for example, during the process a news story emerged about a vlogger who’d inadvertently unmasked herself, when her face filter glitched and revealed her as a middle-aged mum and not the 20-year-old she’d claimed to be. In some cases, he says, the creative work turned out to be weirdly prescient, with some of the future car designs ending up strangely similar to the Tesla Cybertruck.

And while we all love a smooth, seamless, white-walls-and-neon-lights vision of the future, Newby says that was precisely what W+K wanted to avoid.

“These positive futures and clean worlds that you typically see in adverts tend to be boring,” he says. “There’s something about these cyberpunk, Matrix futures that are sort of terrible but fascinating.

“Our goal was to create a British future that was interesting. We’re not saying this is a perfect world, but it’s one we recognise. I’d love to see a cyborg England team win the World Cup.”

Agency: Wieden+Kennedy London
Director: Ian Pons Jewell
Production company: Academy
VFX: The Mill

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