Découverte des créations et peintures de l’artiste Adam Neate avec sa série “The Flock Series”. Des oeuvres et un style original, grâce à un rendu en 3 dimensions. Ces collages sont actuellement en exposition au Elms Lesters Painting Rooms. Plus d’images dans la suite.
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Crockery rarely makes an appearance on the CR blog. But with a royal wedding set for next year, we’ll make an exception for KK Outlet’s recently unveilved ‘unofficial’ Wills and Kate souvenir plates…
With only four months to go until the big day, royal wedding fever has already gripped parts of the creative community – largely those involved in ceramics, unsurprisingly, as Majesty magazine reveals. (Just the $70 for the ‘tankard’ then.)
And in an attempt to combat the tidal wave of tack that accompanies any decent royal wedding the Lord Chamberlain, Earl Peel, has already issued a formal memorandum indicating that tea towels, for one, are right out.
So London-based creative agency KK Outlet decided to create some of their own souvenir plates for the more design-conscious fans of British royalty.
Many of the sentiments may not be wholly endorsed by The Palace, but we love the fact that April 29 2011 is already proving to be a special day for millions of fans of that other UK institution: the public holiday.
The plates will be available to purchase from KK Outlet from January 15. See kkoutlet.com.
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Doors in this Portuguese house by Jorge Mealha Arquitecto are rendered in the same material as the walls to give the impression of closed blocks around a terrace.
Located on the Tróia peninsular, the residence features a series of interlocking volumes creating a series of recessed, shaded patios.
The following details are from Jorge Mealha Arquitecto:
House in Tróia
For the surrounding ground, a Set of virtually blank solids perform a dialectically tensioned play, searching, through scale and accentuation on the surfaces edges outlines, the emphasis on the light/shadow interplay, proposing an ever changing reading throughout the day.
The outline and voiding of the mass proposes an articulation of solids and wall surrounded patios, succeeding each other in the organization of a rhythmic sequence of a fluid program.
The openings either of limited dimensions or placed in the interstitial spaces, in between the various solids, allow, in a quite controlled way, the fruition of chosen frames.
The scale, the openings and the skylights, become instruments for light capture and redirection, either diffused or of a direct nature, drawing and sprinkling with light the interior planes throughout the daylight cycle.
Within the inner perimeter, a sequence of horizontal and vertical interplays between the various solids, voids and outlines, create the spatial identity structure of the house.
With plastered blank shutters, in the same finishing as the coating of the outside walls, when shut, lead to virtually blank solids, in the pursuit of a clear reading of the format.
Some ambiguities in the reading and definition of the containing and the contained elements inter-relations plays with the observer’s capacity and interest in the decoding of space and shape design.
Architect: Jorge Mealha
Location: Clube Soltróia, plot 82, Tróia, Portugal
Project Team: Arch. João Sítima, Arch. Luís Banazol, Arch. Pedro Pereira, Arch. Marcelo Dantas
Client: Private
Project Area: 388,50 m2
Photographs: Jorge Mealha
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| Black & White House by AGi architects | Mountains and Opening House by EASTERN Design Office | House by Studio Architecture Gestalten |
A new book by James Birch draws on his collection of bizarre baby postcards made between 1900 and 1920. It’s not hard to see how these decidely odd constructions were also to become an influence on the Surrealists…
In the various tinted postcards featured in Babylon: Surreal Babies a plethora of little ones are rendered bubbling from cauldrons, tethered to farm animals, or even hatching from flower pots, cabbage patches and child-sized eggs.
Birch first encountered the cards while visiting a flea market in Aix-en-Provence as a student. It was only after seeing an exhibition on Surrealism at the Pompidou in Paris in the 1980s, with a series of the cards displayed among the exhibits, that he decided to collect them in earnest.
During the 1920s and 30s the cards were also collected by the likes of Paul Éluard, Hannah Höch, Herbert Bayer, Man Ray, Salvador Dali and André Breton.
In his introduction to the book, the late George Melly – a self-titled Surrealist – recounts the time he visited Breton in Paris, presenting the artist with a postcard he had purchased by the Seine as a gift. It featured “a nanny goat on a green lawn,” he writes. “Its many teats, as in a milking parlour, were cupped and attached to long rubber tubes. At the end of each, sucking vigorously on the nipples of baby-bottles, were a comparatively large number of infants wearing nappies and smocks. The effect was quite disturbing.”
Breton’s response, Melly recalls, was a deadpan “Très intéressant”.
Predominantly made in Germany, the largely anonymous designs were available throughout Europe at the beginning of the 20th century but have never been published before in a single edition. They range from the quite disturbing (a collage of 40 crying baby faces) to the amusing (babies travelling up river, neatly stashed in flower pots) and, as in Melly’s gift to Breton, an intriguing combination of the two.
Babylon: Surreal Babies is published by Dewi Lewis; £16.99. See dewilewispublishing.com.
Maybe we’ve been too reactionary over the past couple of years when it’s come to news of the struggling architecture industry. We’ve sounded the alarm bells whenever the AIA‘s Architecture Billings Index plummets and felt sorry for all those sad graduating architecture students, but maybe it was all for naught. Reason being is that the Australian is reporting that “an architect working for the US government,” Kaz Miura, had to shell out a record-setting $36,890 for rounds of shots at a bar in Tokyo. There’s explanation of how this all happened, how one can spend that much on alcohol in an evening, but it involves a leather drum at an establishment whose theme likely wouldn’t fly here in the States, and we don’t understand it entirely. Not that we entirely care either, as the meat of the story, to us, is how an architect in 2010 can so relatively-nonchalantly blow close to $40,000 on booze for people he doesn’t know and not be a Gehry or a Stern or a Hadid (the paper quotes him as saying “No bonus. No windfall. I’m just paying for it out of my pocket and hoping that my wife understands,” which seems decidedly less than how we would have reacted in that situation, which is, “Oh sweet lord, what have I done?!” followed by pounding our head against the bar until we passed out). So either this architect in particular has done very well for himself in the midst of a recession, Tokyo is the place to make lots more money in the business of building than it is over here, or we’ve been completely wrong about how difficult this recession has been on the industry. Whatever the case, we need a shot.
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The latest interactive video for Japanese band Sour reflects two big trends from this year: multiple pop-up windows and music videos that pull in the user’s personal data
Last year, Sour scored a big hit with their Hibi No Niero video which used fans’ webcam footage to charming effect. The new video, for track Mirror, echoes Arcade Fire’s The Wilderness Downtown in that it takes the user’s personal details (in this case Facebook, Webcam and Twitter) in order to create a personalised, multi-window experience.
Go to the site and you are asked to input your log-in details to Facebook, webcam and Twitter.
The video then starts by appearing to do a Google search on you (or CR in this case).
It then uses the images it finds for you to construct a kind of tiled walking man who wanders across your website, Wikipedia or other related pages, before ending up at Twitter.
A new tiled man then appears, made up of images of Sour’s singer, who begins to walk across the Google Maps page for your location
Various band members then appear in pop-up windows
The video then brings in webcam footage to create tiled images of the band playing
Here’s a demo video of the whole thing working:
It’s a beautifully done experience, even though many of its various elements have been seen before, for example in the Arcade Fire piece mentioned above, in Paul Kamuf‘s Light as a Feather film (Kamuf is featured in the Jan issue of CR out this week) or in various ‘upload your webcam footage’ composite projects. Nevertheless, Masashi Kawamura, a creative director at Wieden + Kennedy New York and his fellow directors Qanta Shimizu and Saqoosha have combined those elements and more to entertaining and absorbing effect.
Une belle série intitulée “I am a Parisian Lady” mettant en images des portraits de femmes parisiennes, dans leur domicile : appartement ou atelier. Une mise en scène très variée, par le photographe français Baudouin sur son portfolio. Plus d’images dans la suite de l’article.
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It seems that the snow, Christmas festivities and general busy-ness has resulted in a large number of requests for us to extend the entry deadline for May’s Annual, and in the words of a pantomime genie, “Your wish is our command”.
You now have until January 14 to submit your entries, so enjoy a little more festive cheer celebrating the success of 2010. Just remember to get the best of your work submitted before the deadline for a chance to be included in the 2011 Annual.
If you have any questions or would like to partner with us on the coming year’s Annual, please email Sarah Davies or call her on +44 (0)207 943 8093.
 | Despite its wise-beyond-its-years elegance, affinity for both the modern and iconic, and mastery of collaborations with more accessible brand names like H&M and Ugg Australia, it€™s still hard to believe that the Jimmy Choo brand is 15! However, whether or not you€™re able to wrap your head around it, you might as well reap the benefits of the label€™s landmark anniversary celebration! In honor of 15 years of refined-yet-edgy glamour, co-founder Tamara Mellon has collaborated with Marilyn Minter to create the Crystal Collection – a series of special-edition shoes that take some of the brand€™s classic designs and revamp them for this milestone occasion!
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While the uproar in DC continues unabated, on the other site of the country, new Los Angeles Museum of Contemporary Art director, Jeffrey Deitch, could perhaps be soon facing his own pulled-art uproar. Art Info reports that after commissioning street artist Blu, the museum decided its image of “a massive panorama of coffins draped in one dollar bills” would be too controversial and almost immediately had it painted over. And while the museum issued a statement that said it acted as such because it didn’t want to stir up any controversy, if the Streisand Effect has taught us anything, it’s that if you try to very-publicly hide something, it often don’t usually work out as such. What’s more, when they said they’d asked the artist to return to paint something else, he quickly fired back, essentially saying no way. This seems particularly awkward for Deitch, who just months ago was getting Shepard Fairey to paint a mural for him in New York. Here’s video of the MOCA take-down:
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