Resplendent Sculpture with Natural Materials

Pontus Willfors expose en ce moment Homeland, à la galerie Edward Cella Art & Architecture. Dans cette série il conteste la manière dont le spectateur perçoit les objets du quotidien, et plus particulièrement de notre mobilier. Le sculpteur suédois critique nos intérieurs de plus en plus confortables, qui parfois, deviennent nos propres prisons.





Rare Lenticular Clouds Phenomenon

Les nuages lenticulaires (altocumulus lenticularis) sont des phénomènes aériens ayant souvent été pris pour des OVNI spatiaux. Ces nuages se forment généralement sur le sommet des montagnes, là où il y a rencontre entre des courant d’air adverses.

Si la temperature le permet, la vapeur condensée génère ces énormes agglomérats à la forme de lentilles qui représentent un danger pour les pilotes d’avions risquant de se trouver pris dans une zone de forte turbulence.

Ces étranges nuages aux allures fantastiques ont donné lieu à diverses légendes à travers le monde, des extraterrestres à la présence des dieux.












Stamps Created with 80’s Pop Culture References

Le graphiste et designer américain Clark Orr, originaire d’Orlando en Floride et co-fondateur de Hellcats Inc., est l’auteur de nombreux timbres fictifs inspirés de l’univers pop culture des années 80. Son exposition Pop Culture Postage se tient à la galerie 1988 de Los Angeles depuis le 3 février dernier.










Do Do uses ceramic scraps to overhaul shop and gallery for Japanese porcelain brand

Tokyo-based studio Do Do has used remnants of porcelain to update this ceramics shop and gallery in northwest Japan, and create a new pavilion for hosting workshops.

The Ōyane shop and gallery is located in Hasami, a town in Japan’s Nagasaki prefecture that has produced pottery for around 400 years. It occupies the ground and basement floor of the area’s famous Saikai porcelain factory.

Like Tokyo designer Yusuke Seki, who used the pieces of crockery to remodel the Maruhiro ceramics flagship store in the town, Do Do architect Kei Harada wanted to reference the traditional ceramics techniques and materials.

“My question when working on this project was: what can I do which can only be done with this client?,” the architect explained.

“The answer was a total revamp of the internal and external structure, while realising the spirits of the artists using the materials of Saikai porcelain,” he continued. “Remnants of the porcelain artistry can be seen throughout the structure.”

Harada lined the walls of the 140-square-metre space with columns made from stacks of ceramic plates.

White boxes, or boshi, which were historically used for firing pottery, are stacked up to create the L-shaped shop counter, as well as a long bench and columns.

The crates are also piled to create shelves topped with glass for displaying products, alternated with low light-toned wooden cabinets.

The installations are complemented by the muted tones of the the exposed light-grey metal ceiling, light flooring and white-painted walls.

Lamps and signs throughout the interior are also made from porcelain, while the steps outside that lead up to the glass doors of the gallery feature pieces of porcelain mixed into the concrete.

The architects also added a large staircase and elevator create a better connection between the two levels, while outside a new entrance flanked by reinforced concrete walls directs customers to the shop at basement level.

Outside, the large pitched roof of the pavilion is intended to resemble that of a typical old factory in the local area. It is made with white-painted corrugated metal and set on a steel frame structure.

Strips of glazing run though the canopy, bringing natural light down into the space beneath. Like the steps, the flooring is made from a mix of concrete and shards of white and blue porcelain.

Light-grey plastic crates are used to build tables and bench that run along one side of the pavilion, which are topped with porcelain counters.

The other side is left open to allow for large gatherings and markets. Next to the pavilion, the architects also built a new toilet block.

Ōyane is one of a number of shops and exhibition spaces that promote traditional Japanese crafts. Others include a kimono shop in Kyoto and an installation using hemp fabrics for a Tokyo textile brand.

Photography is by Takumi Ota.

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BIG wins contest for San Pellegrino bottling factory in Italy

Bjarke Ingels has been announced the winner of a competition to design a new headquarters and bottling plant for the soft drinks company San Pellegrino in northern Italy.

BIG was announced the winner of the San Pellegrino Flagship Factory competition at an event at the Herzog & de Meuron-designed Feltrinelli Foundation in Milan today.

The 17,000-square-mete facility – expected to cost €90 million (£76 million) – will replace the brand’s existing bottling plant and offices, which has been located in San Pellegrino Terme since 1899.

“Rather than imposing a new identity on the existing complex, we propose to grow it out of the complex,” said Ingels of the design, which features a series of arching walkways.

“Like the mineral water itself – the new San Pellegrino Factory and Experience Lab will seem to spring from its natural source,” he added. “We propose to wash away the traditional segregation between front and back of house, to create a seamless continuity between the environment of production and consumption, preparation and enjoyment.”

The design is intended to reference traditional Italian architecture, reinventing the arcade, piazza and portico to create the factory and offices, which are set on the bank of a river.

“BIG proposes an architecture that offers a fresh take on an ancient wisdom, revisiting the classic elements of Italian architecture and urbanism,” said San Pellegrino, “the arcade, the viale, the piazza and the portico to create an architectural environment where production and consumption, nature and architecture, outside and inside, making and enjoying are accommodated in an integrated way to elevate the experience for the visitor as well as the San Pellegrino staff.”

Ingel’s Copenhagen-based firm beat a shortlist of MVRDVSnøhetta and Architetto Michele De Lucchi to win the contest.

Construction work is expected to begin in 2018.

Local mayor Vittorio Milesi hopes the facility will attract tourism to the region, and pull the stopping blocks from projects halted by the economic crisis: “We are confident that it will stimulate other initiatives that were started in recent years, but may have been put on hold in the aftermath of the economic crisis,” he said.


Project credits:

Partners in charge: Bjarke Ingels, Thomas Christoffersen
Project leader: Jelena Vucic
Team: Lorenz Krisai, Edda Steingrimsdottir, Stephen Steckel, Julie Kaufman, Wells Barber, Derek Wong,
Yang Yang Chen, Terrence Chew, Christopher Tron, Lawrence Olivier Mahadoo, Veronica Acosta, Ashton
Stare, Gaurav Janey, Maria Eugenia Dominguez Bello, Supakrit Wongviboonsin, Adi Krainer, Josiah
Poland, Jennifer Wood, Kelly Neill, Maki Matsubayashi, Francesca Portesine, Veronica Moretti, Gabriella
Den Elzen, Denys Kozak, Kristian Hindsberg
Collaborators: Atelier Verticale, West8, Schlaich Bergermann Partner, Front, Arup, Squint/Opera, MIC, BIG Ideas, WET, Studio Piero Castiglioni
Client: San Pellegrino

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Crazy Peacock Society Poster by Mrzyk & Moriceau

Le style de Mrzyk & Moriceau se reconnaît à chaque trait : impertinent, politiquement incorrect, simple et efficace. Plus que des simples dessins, leurs travaux sont des vraies vignettes où des histoires ironiques et déjantées plongent le spectateur dans un univers sexualisé, étudiant le corps et ses formes ainsi que la nature.

Empreints de surréalisme, ces dessins mettent en place un chaos organisé riche de symboles. Également réalisateurs de clips pour Jackson, Air ou Sebastien Tellier, les deux artistes sont extrêmement prolifiques.

Le duo revient donc avec un nouveau projet absolument électrisant : l’affiche joyeuse à l’impact certain du Peacock Society Hiver 2017.

Véritable ode à la musique et à l’innovation, l’affiche du Peacock incarne l’esprit du festival, novateur, aux partis pris artistiques forts.




















Majestic Auditorium Photo Series by Zsolt Hlinka

Adepte de la photographie d’architecture, le photographe Hongrois Zsolt Hlinka, bien connu des lecteurs de Fubiz pour sa patte atypique, a voulu reproduire la sensation que doivent ressentir les artistes une fois face à leur public : ce mélange de trac, d’excitation et de partage.

Un projet intitulé Auditorium, mené à travers la superbe ville de Budapest et ses non moins incroyables théâtres aux plafonds majestueux. De quoi valoriser d’autant plus la performance de certains artistes tant les lieux peuvent paraitre intimidants et chargés d’histoire.






Reptilian!

Reptilian is an ode to children’s imaginary and pure world, where all beings can be friendly and partners (even those who would make anyone hide in fe..

Simon Astridge adds dusty-pink concrete extension to north London house

Simon Astridge has used pigmented concrete to create the pink facade of this extension to a north London house, accenting the warm-toned colours found in the existing brick walls.

The Pink House by Simon Astridge

The London-based architect added the extension and reconfigured the interiors of the mid-terrace house in Islington to create an open-plan kitchen and dining room for its new residents – a young family.

Astridge removed both the existing back and walls at the rear of the property, and used cast concrete for the new walls to complement the existing brickwork.

The Pink House by Simon Astridge

On the exterior, the concrete walls are pigmented a deep, dusty pink colour. The hue was chosen by Astridge as the most suitable to amplify the textures and colours of the surroundings.

“A series of in-house experiments and material sampling tests were carried out, mixing pigments into concrete, looking for the right hue that matched the existing brickwork of the property,” the architect told Dezeen.

The Pink House by Simon Astridge

Inside, exposed plaster walls match the pink hues of the external facade – a feature that lead to the residence’s name, Pink House.

A large square window in the back wall slides open, while the wooden slatted door hinges into the new space below two triangular roof lights.

Two further roof lights are set above the weathered wooden dining room table, and reveal the thickness of the concrete roof.

The architect selected a “calming” palette of materials for the interior, which features green lacquered storage cabinets built along on one side of the space.

The Pink House by Simon Astridge

An island set at the centre of the space is designed to double up as a space for food preparation and casual dining. Its concrete counter is tinged with a mixture of grey and green pigments.

Light-toned plywood panels line the ceiling of the existing residence, which now features a large green-painted void.

The Pink House by Simon Astridge

Filled with hanging copper plant pots and colour pendant lights, the gap above the cooking area creates a connection with the study and children’s homework area above.

“The idea was conceived for the children to complete their homework away from their parents, but with the reassuring connection,” the architect explained.

The Pink House by Simon Astridge

“The new ground floor cooking and gathering spaces are connected physically to the first floor through an open void above the cooking area, allowing the sounds, smells and sight travel upwards into the study homework area,” he added.

The hanging plants are intended to bring an outdoors element into the house to remind the Australian occupant of her sunny hometown.

The Pink House by Simon Astridge

On the second floor, the architect has also added a dormer window extension.

The Pink House is one of a number of materially focused projects by Astridge, who is based in Tufnell Park, north London.

The Pink House by Simon Astridge

Other projects include lining walls of Japanese-styled apartment in London with rustic clayusing textured surfaces for a “wine cave” beneath a south London kitchen showroom, a leather-lined dressing room in a refurbished residence, and an extension to a Victorian house featuring a varied material palette.

Photography is by Nicholas Worley.

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Out of This World Coffee

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What if NASA made a coffee maker? This stellar concept called Dot/Dot explores this very question! Applying the design language of the aeronautic giant, this coffee pod machine takes on a never before seen aesthetic that caffeine cravers and space enthusiasts alike will appreciate.

The look of the machine is a mix of planetary and rocket-like, but what really stands out are the pods themselves! They’re perfectly spherical unlike the common cup versions, and modeled after the planets, making them fun and interesting to interact with!

Designer: Younggyu Kwon

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