Once illuminated, these faceted grey 3D-printed lamps reveal colourful interiors derived from everyday images (+ slideshow).
The Dazzle lamps by Belgium-based designer and programmer Corneel Cannaerts were 3D-printed in colour using a technique developed by the designer himself.
Using a Z Corp colour printer and a gypsum-like powder, each of the shades is printed in grey on the outside, while brightly coloured patterns are applied to the internal polygon mesh.
The process of additive manufacturing allows the colours to bleed into the material, creating their distinctive glow.
“The dazzle lamp prototypes look at the potential of 3D colour printing to embed different states within an object,” explained Cannaerts.
The volume of the lamps is deformed in such a way that the centre of gravity falls below a triangular opening, allowing room for the light fitting and LED.
For each lamp, two custom fittings are printed so the lamp can be used as either a pendant or standing lamp.
“The irregular triangulated shape is derived from the mesh – still a necessary file format for 3D printing,” he continued. “It looks similar but different depending on the angle you look at the lamp.”
Cannaerts has developed his own custom software application to allow anyone to change the shape and size of the lamps.
His software also allows anyone to source an image – a still from My Little Pony in one example – and the software converts it into a coloured mesh.
At present the application only runs on desktops, but Cannaerts is planning on building a web and mobile version allowing anyone to customise their own shapes and colour schemes.
A landscape of stepped boxes covered in sisal displays products at this Barcelona boutique by local firm Arquitectura-G.
Arquitectura-G was commissioned by AOO, a shop that sells furniture and products from its own label and selected other brands, to transform a former warehouse into the retail space and office.
The stepped display begins next to the entrance and continues along one wall, rising in height and expanding outwards as it reaches the rear of the shop.
“The architects wanted to exhibit the objects as they deserve, in a unique way,” AOO cofounder Marc Morro told Dezeen. “They wanted the pieces to have a special presence from the street and once you are inside. The solution was a step that grows from the entrance to the end, and shows the objects as a cascade.”
The entire display unit is covered in sisal, a woven surface made from stiff plant fibres that gives it a robust and textural dimension, and provides a uniform backdrop for the products.
“Together with the architects we had a clear idea that the materials had to define clearly the aim of the shop, so we wanted a kind of a Mediterranean component,” said Morro. “For that there are a mix between white walls, warm lights and the toasted colour from the sisal.”
At the back of the space, the sisal continues across the floor of a studio space and up into a raised kitchen and lounge area, where it covers the base of the boxy sofas.
Photograph by Jara Varela
The narrowing floor space resulting from the projecting steps creates a gradual transition between the public space of the shop and this private area.
The back rooms can be completely closed off by sliding across a partition with a stepped profile that slots behind the display when not in use.
Photograph by Jara Varela
Mirror panels fixed to the side of the partition reflect the products and give the space the impression of added depth when it is slid across.
Simple lamp shades are suspended at different heights above the product display, with their black cords left exposed to contrast with the white walls.
Photography is by José Hevia unless otherwise stated.
Dutch firm Wiel Arets Architects has completed an academic campus in Rotterdam‘s Hoogvliet district comprising six concrete and glass buildings with subtle surface patterns designed to resemble ivy (+ slideshow).
Wiel Arets Architects used fritted glass and textured concrete to suggest traces of climbing plants on the pared-down walls and windows of Campus Hoogvliet – a school and college campus providing housing and teaching for students between the ages of 12 and 27 years.
All six buildings sit over the asphalt ground surface that defines the limits of the campus. These include a sports centre, an arts school, a safety training academy, a secondary school, a business academy and a housing block for up to 100 residents.
A glass fence surrounds every building and is fritted with the abstracted ivy pattern to maintain privacy for students. The same motif also embellishes the ground floor windows of each building.
A scaled-up version of the pattern reoccurs within each of the buildings, where exposed concrete walls are broken up by stripy concrete reliefs.
Each building can be identified by a different colour, which can be spotted on the glass balustrades that run alongside each staircase, but they are otherwise all identical in materials and finishes.
“Unity defines the campus and its clustered buildings, which are therefore experienced as continuous architecture,” said the architects.
The largest of the buildings is the sports centre that contains a 300-seat multi-purpose hall. The ground floor of this structure is raised up by a storey to make room for car parking, while an outdoor basketball court is located on the roof.
Custom-designed seating is dotted around the site, including white terrazzo benches and circular planters containing Japanese maple trees. There’s also a running track, bicycle storage areas and a campus-wide lighting system that illuminates outdoor areas after dark.
Here’s a project description from Wiel Arets Architects:
WAA complete construction on Campus Hoogvliet in Rotterdam
Campus Hoogvliet is a cluster of six buildings that together compose one academic and socially focused campus, located just outside of Rotterdam. These six new buildings – a sports centre, an art studio, a safety academy, 100 residential units within one building, and two schools – have been plugged into a programmed tarmac that communicates the campus’ boundary, and includes custom-designed seating, a running track, and other place-making denotations.
The campus’ immediate surroundings are characterised by mid-twentieth century housing developments – which were prolifically constructed during its booming period of post-WWII growth – and the campus aims to rectify the social and cultural deterioration that coupled the demolition of this once historic village.
A glass ‘fence’ – equal in height to each ground floor facade – surrounds every building. Every fence is fritted with an abstracted, pixilated image of ivy, so as to create an exterior terrace that is both private and transparent. The ground floors of each building are fritted with the same pattern, and all exterior glass was made with a kiss print, which introduces texture to each facade.
A white ring surrounds every building and denotes the transition from public tarmac to private terrace, each programmed with bike parking and play areas. All six buildings share a similar procession of entry: spaces compress in volume when transitioning from the campus’ tarmac toward the glass-fenced terraces; decompress when entering each building’s ground floor communal spaces; and compress again when traversing circulation paths toward upper levels.
The sports centre’s tribune seats 300 and overlooks its multi-purpose and double height activity space, which functions as an exercise area for students and is also available for local events and sports teams. This sports centre – the largest of the campus’ six buildings – has been raised one level in order to accommodate a 80 space parking garage on its ground floor; this introduces a ‘zero-zero’ level to the campus, which compounds the notion of ‘interiority’. Additional parking for 200 aligns with and compliments the campus’s boundary, so as to not disturb its highly trafficked pedestrian areas. An outdoor basketball court occupies the roof of the sports centre’s ground floor; it is perpendicular to a monumental staircase that allows for views over the sprawling campus below.
Load-bearing facades with open corners – combined with concrete cores for stability, and non-polished concrete floor slabs under tension – structure each building. Cores are notable for their concrete relief, derived from an enlarged pattern of the fritted ivy, adjacent to which are each building’s shifting sets of staircases. Balustrades are finished with coloured glass, and each building has a unique colour, to impart a visual identity within each.
Custom-designed white terrazzo seating dots the campus’ programmed tarmac, and Japanese Maples set in custom-designed black terrazzo planters dot each fenced terrace. The entirety of the programmed tarmac, and every terrace, are illuminated at night to ensure the surrounding community’s cohesiveness. Unity defines the campus and its clustered buildings, which are therefore experienced as continuous architecture.
Location: Lengweg, 3192 BM Rotterdam, The Netherlands Typology: Educational, Housing, Retail, School, Sport Size: 41.100 m2 Date of design: 2007-2009 Date of completion: 2014
Project team: Wiel Arets, Bettina Kraus, Joris van den Hoogen, Jos Beekhuijzen, Mai Henriksen Collaborators: Jochem Homminga, Joost Korver, Marie Morin, Julius Klatte, Olivier Brinckman, Sjoerd Wilbers, Raymond van Sabben, Benine Dekker, Maron Vondeling, Anne-Marie Diderich Client: Woonbron Consultants: ABT BV, Wetering Raadgevende Ingenieurs BV
Trios of windows and a new lightwell help to bring daylight through the clean white interiors of this renovated townhouse in Porto by local studio Pablo Pita Architects (photos by José Campos + slideshow).
Pablo Rebelo and Pedro Pita of Pablo Pita Architects added an extra storey to the nineteenth-century residence, known as Casa da Maternidade, to create enough room to house a family.
The architects extended the original staircase, but rather than following its existing back-and-forth arrangement, they wrapped the extra stairs along the edges of two walls to open up a double-height space in between.
A skylight was then added overhead to transform the space into a generous lightwell.
“The lack of an expressive skylight in the original structure defines the approach,” said the architects.
“A new scale is set in the stair core, overlapping this new vertical walkthrough that runs along the existing house, achieving new see-throughs and different spatial relations between all the floors,” they added.
The newly added second floor accommodates a master bedroom and a study, both of which open out to rooftop balconies. There’s also an en suite bathroom encased in glass.
Two smaller bedrooms and a bathroom lined with turquoise mosaic tiles occupy the floor below, while an open-plan living and dining room spans the ground floor and leads out to a terrace and garden.
Here’s a project description from Pablo Pita Architects:
Maternidade
Maternidade House is a single-family dwelling set in a 19th century refurbished house. An example directly restricted to an existing context where the dwelling return to its basis. Adapted to the contemporary needs and standards, the intervention respects its inner scale and typologic scheme.
Conceptually it reinterprets the nuclear core of this type of model, acknowledging the importance of light. The lack of an expressive skylight in the original structure defines the new approach.
A new scale is set in the stair core, overlapping this new vertical walkthrough that runs along the existing house, achieving new see-throughs and different spatial relations between all the floors.
The building is a typical late 19th century Porto house set in the city downtown. It is located in one of biggest city blocks, defined by large gardens in its interior, a bourgeois manor and an early last century maternity. The house itself was a two-storey middle-class example, with little ornamentation and highly modified through time.
The intervention aims to adapt this typical Porto dwelling typology to the daily contemporary routines. This is set from a depuration exercise, developing mainly the stair core, in order to achieve a unifying element that could relate all these different spaces.
The stairs and its light were a recurrent theme in such a narrow and long type of housing. The rooms respect its original scale, and a third floor is added considering the block outline.
The ground floor is the social level, gathering parking, kitchen and living-room, and relating it to the garden located in the interior of the block. In the highest level a guest floor is set with a wide perspective of its surroundings.
Project name: Casa da Maternidade Architecture: Pablo Rebelo, Pedro Pita Consultants: ALFAengenharia, PROQUALITYengenharia, Ricardo Ferreira da Silva Constructor: F. Moreira da Silva & Filhos, Lda Location: Porto, Portugal Date: 2013
Stockholm 2014: the founders of Swedish design studio Form Us With Love have launched BAUX, a new brand taking construction materials such as insulation and turning them into architectural features (+ slideshow).
Jonas Pettersson, John Löfgren and Petrus Palmér of Form Us With Love have teamed up with entrepreneurs Johan Ronnestam and Fredrik Franzon to take conventional architectural products and make them more visually appealing.
“To talk about beauty and construction materials is almost unheard of,” Palmer told Dezeen. “We think that building materials pose one of the best opportunities for design and design thinking.”
Their idea was to use materials that would normally be hidden, such as sound and heat insulation, and rework them as elements that can contribute to a design feature.
“Design hasn’t been an important factor [in this industry], but what we’re seeing now is that buyers such as architects or interior designers are actually asking for design values in materials that are normally purely functional,” Palmér explained. “Currently no one is really meeting those demands.”
The brand’s inaugural product is a type of acoustic panel called wood wool. Made of spruce wood, cement and water, the sound-absorbent material also regulates heat and moisture.
Panels of wood wool are usually covered up beneath other surface finishes, but BAUX hopes architects and designers will create decorative feature walls using the colourful modular elements the company has formed from the raw material.
“At Form Us With Love we did a project with the company that makes the material a couple of years back and it was very well received,” said Palmér. “The problem was that the company had trouble coping with the demand, they were used to local demand and serving local clients, and they couldn’t manage.”
BAUX now handles the distribution. The brand takes the material from the manufacturer, cuts it into six new shapes in two sizes and sprays them in six different colour palettes.
The panels can be backed with magnetic pads to attach them to a metal base surface, so they can be rearranged and replaced.
Pettersson, Löfgren and Palmér set up their Stockholm studio Form Us With Love in 2005. BAUX was launched during this year’s Stockholm Design Week, which continues until Sunday.
Here’s some more information sent us by the BAUX team:
Let us present BAUX!
BAUX is founded on the belief that building materials should be surprisingly functional and remarkably beautiful. BAUX designs, produces and markets construction materials that meet the contemporary expectations of architects, engineers and builders – without compromising safety and environmental standards.
BAUX is a joint venture between entrepreneurs Johan Ronnestam and Fredrik Franzon and the founding members of design studio Form Us With Love: Jonas Pettersson, John Löfgren and Petrus Palmér.
“We think building materials is one of the most exciting design opportuniites out there right now, we’re here to explore an area where design values hasn’t been present before” – says the founding partners of BAUX.
The BAUX Träullit collection of wood wool acoustic panels is a canny combination of form and function. Available in a range of vibrant colours, the BAUX Träullit collection combines excellent sound absorption with a natural capacity for heat and moisture regulation.
BAUX Träullit panels can be combined to create remarkable structural patterns for residential, industrial or public spaces. Benefits include lower energy costs, a reduced environmental impact and a stable indoor climate.
Designed by Swedish design studio, Form Us With Love, the BAUX Träullit collection features six different geometrical shapes, available in two sizes and five colour sets, offering over 240 creative variations! Let’s build!
News: New York studio The Living has won this year’s MoMA PS1 Young Architects Program competition with plans to cultivate bio-bricks from corn stalks and mushrooms, and use them to build a tower in the courtyard of the New York gallery (+ slideshow).
The Living principal David Benjamin proposed a cluster of circular towers made entirely from natural materials for his entry to the Young Architects Program (YAP) contest, which each year invites emerging architects to propose a temporary structure that will host the summer events of the MoMA Ps1 gallery in Queens.
Named Hy-Fi, the structure will be constructed entirely from recyclable materials. The Living will collaborate with sustainable building firm Ecovative to grow the bricks that will form the base of the tower, using a combination of agricultural byproducts and mushroom mycelium – a kind of natural digestive glue.
The upper section of the structure will be made from reflective bricks produced using a specially developed mirror film. Initially these will be used as growing trays for the organic bricks, but will later be installed at the top of the tower to help to bounce light down inside.
Gaps in the brickwork will help to naturally ventilate interior spaces using the stack effect, drawing cool air in at the bottom and pushing hot air out at the top.
MoMA curator Pedro Gadanho said: “This year’s YAP winning project bears no small feat. It is the first sizeable structure to claim near-zero carbon emissions in its construction process and, beyond recycling, it presents itself as being 100 percent compostable.”
“Recurring to the latest developments in biotech, it reinvents the most basic component of architecture – the brick – as both a material of the future and a classic trigger for open-ended design possibilities,” he added.
Set to open in June, Hy-Fi will be accessible to MoMA Ps1 visitors during the 2014 Warm Up summer music series.
Here’s the full announcement from MoMA:
The Living selected as winner of the 2014 Young Architects Program at MoMA PS1 in New York
The Museum of Modern Art and MoMA PS1 announce The Living (David Benjamin) as the winner of the annual Young Architects Program (YAP) in New York. Now in its 15th edition, the Young Architects Program at MoMA and MoMA PS1 has been committed to offering emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation at MoMA PS1 that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling. The Living, drawn from among five finalists, will design a temporary urban landscape for the 2014 Warm Up summer music series in MoMA PS1’s outdoor courtyard.
The winning project, Hy-Fi, opens at MoMA PS1 in Long Island City in late June. Using biological technologies combined with cutting-edge computation and engineering to create new building materials, The Living will use a new method of bio-design, resulting in a structure that is 100% organic material. The structure temporarily diverts the natural carbon cycle to produce a building that grows out of nothing but earth and returns to nothing but earth – with almost no waste, no energy needs, and no carbon emissions. This approach offers a new vision for society’s approach to physical objects and the built environment. It also offers a new definition of local materials, and a direct relationship to New York State agriculture and innovation culture, New York City artists and non-profits, and Queens community gardens.
Hy-Fi is a circular tower of organic and reflective bricks, which were designed to combine the unique properties of two new materials. The organic bricks are produced through an innovative combination of corn stalks (that otherwise have no value) and specially-developed living root structures, a process that was invented by Ecovative, an innovative company that The Living is collaborating with. The reflective bricks are produced through the custom-forming of a new daylighting mirror film invented by 3M. The reflective bricks are used as growing trays for the organic bricks, and then they are incorporated into the final construction before being shipped back to 3M for use in further research.
The organic bricks are arranged at the bottom of the structure and the reflective bricks are arranged at the top to bounce light down on the towers and the ground. The structure inverts the logic of load-bearing brick construction and creates a gravity-defying effect – instead of being thick and dense at the bottom, it is thin and porous at the bottom. The structure is calibrated to create a cool micro-climate in the summer by drawing in cool air at the bottom and pushing out hot air at the top. The structure creates mesmerising light effects on its interior walls through reflected caustic patterns. Hy-Fi offers a familiar – yet completely new – structure in the context of the glass towers of the New York City skyline and the brick construction of the MoMA PS1 building. And overall, the structure offers shade, colour, light, views, and a future-oriented experience that is designed to be refreshing, thought-provoking, and full of wonder and optimism.
“This year’s YAP winning project bears no small feat. It is the first sizeable structure to claim near-zero carbon emissions in its construction process and, beyond recycling, it presents itself as being 100% compostable,” said Pedro Gadanho, Curator in MoMA’s Department of Architecture and Design. “Recurring to the latest developments in biotech, it reinvents the most basic component of architecture – the brick – as both a material of the future and a classic trigger for open-ended design possibilities. At MoMA PS1, The Living’s project will be showcased as a sensuous, primeval background for the Warm-Up sessions; the ideas and research behind it, however, will live on to fulfil ever new uses and purposes.”
Klaus Biesenbach, MoMA PS1 Director and MoMA Chief Curator at Large, adds, “After dedicating the whole building and satellite programs of MoMA PS1 to ecological awareness and climate change last year with EXPO 1: New York, we continue in 2014 with Hy-Fi, a nearly zero carbon footprint construction by The Living.”
The other finalists for this year’s MoMA PS1 Young Architects Program were Collective-LOK (Jon Lott, William O’Brien Jr., and Michael Kubo), LAMAS (Wei-Han Vivian Lee and James Macgillivray), Pita + Bloom (Florencia Pita and Jackilin Hah Bloom), and Fake Industries Architectural Agonism (Cristina Goberna and Urtzi Grau). An exhibition of the five finalists’ proposed projects will be on view at MoMA over the summer, organized by Pedro Gadanho, Curator, with Leah Barreras, Department Assistant, Department of Architecture and Design, MoMA.
News: US office furniture giant Haworth has acquired a majority stake in iconic Italian design brands including Cappellini, Cassina and Alias as part of its $270 million deal with Italian furniture group Poltrona Frau.
The move creates a major global design brand headed by Haworth, a privately owned company based in Michigan which generated $1.4 billion in sales of its office interior systems and furniture in 2013.
The deal means that Haworth now owns design classics such as Tom Dixon’s 1989 S Chair (above) as well as a huge back-catalogue of iconic products by leading designers.
The Gebrüder Thonet Vienna and Nemo brands now also come under the control of Haworth, as well as Poltrona Frau’s own luxury furniture business.
“Our family is very excited about this opportunity,” said Haworth chairman Matthew Haworth. “This transaction is not only inspired by the strong performance of the Poltrona Frau Group and what we believe to be highly complementary strategies, but even more importantly, by the great alignment of the values shared by both our families.”
Haworth Inc yesterday announced that it had bought 58.6% of the group from Charme Investments – a investment vehicle set up by Ferrari chairman Luca Cordero di Montezemolo – and the Moschini family, the previous owners of Poltrona Frau who retained an interest in the company after it was taken over by Charme.
Poltrona Frau president Franco Moschini said: “This is for me the realization of a big dream, the creation of the most important global operator in the industry of luxury furnishing that will bring great benefits to the international development of the Group and the consequent growth of our factories and manufacturing sites.”
Charme acquired Poltrona Frau in 2003 and spent the next three years buying small, independent luxury brands such as Cappellini and Cassina before listing the group on the Italian stock exchange in 2006.
Charme managing director Matteo Cordero di Montezemolo said: “After an investment cycle that lasted more than 10 years, this transaction represents the best conclusion of Charme’s adventure in Poltrona Frau Group and is above all an extraordinary opportunity for the strengthening of the group.”
He added: “Today Charme has decided to set up a new ambitious phase for Poltrona Frau Group, by creating, together with the Haworth family, the worldwide leader in the industry.”
Poltona Frau today has 70 own-brand stores around the world and operates in 65 countries. But it is dwarfed in scale Haworth, which employs 6,000 employees and has over 600 dealers worldwide.
The deal also involves the $1.9 million purchase of the factories in Meda, Italy, that supply Poltrona Frau.
“This transaction with a great industrial group such as Haworth will allow us benefit not only from an extraordinary international development but also from a strong complementarity of products and markets which will be of great advantage for all our Italian factories,” said Poltrona Frau managing director Dario Rinero.
“The dimension reached through the combination within the group of two companies respectively of Italian and American culture, will eventually ensure the establishment of a global unique team within the industry,” Rinero added.
Poltrona Frau was founded in 1912, specialising in high-quality leather seating for both interiors and automobiles.
Claudio Luti, president of both Milan’s Salone del Mobile fair and Italian furniture brand Kartell, welcomed the deal.”I think this is good news for the sector and for the country’s economy, because it shows that solid, well-managed leading companies are capable of developing synergies at global level and attracting useful foreign capital for further growth strategies,” he said.
“It sends an important signal of confidence in the development of our specialist manufacturing skills,” Luti added. “It is crucial both that production should remain in Italy and that the consistently high quality of our products be maintained.”
The Haworth deal, which is expected to be concluded by the end of April this year, is the latest in a series of consolidations in the design-led furniture industry, which has until recently been made up of small, low-margin businesses.
“I think augmented reality and virtual reality will essentially converge into the same thing”, says Millns.
The co-founder of Inition explains that the next generation of appliances will blur the once-clear distinction between augmented technology devices like Google Glass and virtual reality devices like the Oculus Rift headset.
“There’s two strains of headsets: the Google Glass-type which only gives you a small image in the corner of your field of view.” says Millns, referring to Google’s augmented reality spectacles which can overlay digital information like maps and internet searches into the user’s field of vision.
A view through Google Glass
“The other strain is the Oculus Rift type, which is designed to replace the entire world and give you a high resolution and the biggest picture possible.” says Millns, referring to the strap-on motion-responsive virtual reality googles from Oculus VR.
Oculus Rift headset: an example of a virtual reality device
“Eventually those two things will converge [into] some sort of contact lens which goes in your eye and does both of those things. It will give you a huge image at high resolution but also the ability to see through and mix images with the real world”, says Millns.
Artist’s impression of an everyday augmented reality view, for Google Glass
Millns also predicts that the integration between displays and humans will become tighter and tighter, leading to what he calls a “cyborg situation where you have something embedded inside your brain that has a direct interface to your visual cortex.”
Famous film set designs are translated into detailed cross sections that resemble the insides of dolls’ houses in this series of illustrations by architect and illustrator Federico Babina.
The collection of 17 posters is entitled Archiset and accurately replicates interiors from iconic films such as Alfred Hitchcock’s Vertigo and The Shining by Stanley Kubrick.
Federico Babina wanted to create an architectural representation of the set designs and chose to present them as two-dimensional elevations, like a cross section of a dolls’ house with characters appearing in familiar poses.
“The idea was to find a different form of expression to be able to enter and walk inside a movie,” Babina told Dezeen.
The artist said the selection of movies was based on his favourite set designs: “The film, its atmosphere and script are a fundamental guide for the ideation and design of the posters.”
Each of the illustrations depicts key details and props from the original sets, which were integral to the plot of the films.
Among the recognisable images is the apartment from 1961 film Breakfast at Tiffany’s, where Audrey Hepburn’s character lounges in a bath in her living room.
The set designed by Ken Adams for the ranch occupied by the famous villain Auric Goldfinger in the 1964 James Bond film is also featured.
The illustration of the Overlook Hotel from The Shining includes details such as an axe lodged in a door and the entrance to the haunted Room 237.
Darth Vader appears in front of the bridge on the Death Star.
The project is called Archiset. The idea is to represent a film set as if it were a doll’s house where we can start to play with the imagination together with the movie’s characters.
I am representing some of my favourite and inspiring movie set interiors. Seventeen images where cinema and architecture merge into a single frame to speak the same language.
In a movie we discover the spaces through the camera movement that reveals the spaces where the main characters live.
I enter on tiptoe through the drawing in the rooms and environments where there’s the film’s life: I touch objects, I look through the windows, I open doors.
I like to think that in a set design each object is carefully chosen. Nothing is left to chance.
Each item participates in the script and helps the development of the plot. A half-full glass on a table reveals clues and becomes part of the puzzle that makes up the story.
In these films every room has a style and a defined personality and contains surprises and unexpected details. They are like big magic boxes full of stories and characters, able to make us dream.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
