Dreaming the book

Le Monde des Montagnes (The World of Mountains), an ECAL graduate project by Camille Scherrer

Nothing to stop us from getting lost. From deciding we no longer belong here, and using all our knowledge and craft to make this place just confusing enough to dream.
Be it an augmented reality, be it a book, a picture that can actually be moving. Be it our imposing of what's in our head, or rather, what dropped by for just a second, only to fool us into believing we own it, we are it.
Nothing to stop us from finding our way. With every single hesitating step we so confidently make into this our augmented reality, with more of you than I could ever have hoped for, with less of me than you would expect, with just enough of us to get the picture.
And move on. As if nothing really happened. As if.

(via)

Dreaming the book

Le Monde des Montagnes (The World of Mountains), an ECAL graduate project by Camille Scherrer

Nothing to stop us from getting lost. From deciding we no longer belong here, and using all our knowledge and craft to make this place just confusing enough to dream.
Be it an augmented reality, be it a book, a picture that can actually be moving. Be it our imposing of what's in our head, or rather, what dropped by for just a second, only to fool us into believing we own it, we are it.
Nothing to stop us from finding our way. With every single hesitating step we so confidently make into this our augmented reality, with more of you than I could ever have hoped for, with less of me than you would expect, with just enough of us to get the picture.
And move on. As if nothing really happened. As if.

(via)

The unwearable jewel

I love the CRA$H jewellery collection by Super Fertile because it's impossible to wear. Poor people can't afford it. Rich people would never dare.
So who is it for?
For us, of course.

The unwearable jewel

I love the CRA$H jewellery collection by Super Fertile because it's impossible to wear. Poor people can't afford it. Rich people would never dare.
So who is it for?
For us, of course.

Wink

I have no idea concerning the origins of the above.
UPDATE: It is The Cyclops by Jaime Pitarch (2002)
Thank you Claudia!

Wink

I have no idea concerning the origins of the above.
UPDATE: It is The Cyclops by Jaime Pitarch (2002)
Thank you Claudia!

After the Party

The duporet bujany (translating as something like "ass-rocker") was found at poor design. Poor is the author of several clever designs, the most known being the "peg" pendrive. The design is funny, unfortunately as the owner of one such peg I am less enthusiastic about its practicality.
I prefer when he creates poor objects in all honesty - like this "uncovering lamp".

Plexiglas object which gives no light but at least it does not shut off light either. Additionally, it can serve as a stand for a classical lamp with a clamp changing it in a traditional bedside lamp.

Or take this spike:
Perfect for hangovers.

After the Party

The duporet bujany (translating as something like "ass-rocker") was found at poor design. Poor is the author of several clever designs, the most known being the "peg" pendrive. The design is funny, unfortunately as the owner of one such peg I am less enthusiastic about its practicality.
I prefer when he creates poor objects in all honesty - like this "uncovering lamp".

Plexiglas object which gives no light but at least it does not shut off light either. Additionally, it can serve as a stand for a classical lamp with a clamp changing it in a traditional bedside lamp.

Or take this spike:
Perfect for hangovers.

Keeping up the party spirit

• the paintings are by Jeff Soto.
• the chair for partying till you drop is by Sebastian Brajkovic.
• and the look-what-I-found-upon-returning-to-the-hotel-room photo was taken by the great Cormac Hanley (an interview with him is here, although I must add that his admiration for Michael Mann goes strongly against my conclusions after seeing his last film)

Keeping up the party spirit

• the paintings are by Jeff Soto.
• the chair for partying till you drop is by Sebastian Brajkovic.
• and the look-what-I-found-upon-returning-to-the-hotel-room photo was taken by the great Cormac Hanley (an interview with him is here, although I must add that his admiration for Michael Mann goes strongly against my conclusions after seeing his last film)

Public Art, just not for the public

From Chicago's pride, the Millenium Park, comes a cruel, yet fascinating, story of public art gone wrong.
BOTH of the public sculptures it opened recently, one by the Van Berkel atelier, and the other by Zaha Hadid, got damaged by the all-too-loving public.
Looks quite nice from above, doesn't it? If you go to ground level, it's even more inspiring. Here's a look at Hadid's work:

The entire structure, made of aluminum, is covered with cloth. Now let's take a look inside this spaceship.

Get the picture?
Not so difficult to imagine people stepping on the cloth.
One of the key statements of the manifesto of a group of artists presenting the exhibition Unusually Rare Events is that the artist does not need to think about the spectator when creating the work. Agreed. However, when creating a public work of art (mind you, to some extent any work of art is public), he might want to consider that his work will possibly not only be appreciated like this:

but also like this:


And those, of course, are the "nice" visitors.
The question arises: should we stay with "public-proof" solutions? Hire teams of guards to keep the aura going? Or maybe consider every mark and hole as part of the (pardon the pun) holistic concept of the work of art?

Now I wonder how these marvellously designed shoes by Zaha Hadid feel:
Not to mention the London Aquatics Centre, to be one of the main venues of the 2012 Summer Olympics.
(via)

Public Art, just not for the public

From Chicago's pride, the Millenium Park, comes a cruel, yet fascinating, story of public art gone wrong.
BOTH of the public sculptures it opened recently, one by the Van Berkel atelier, and the other by Zaha Hadid, got damaged by the all-too-loving public.
Looks quite nice from above, doesn't it? If you go to ground level, it's even more inspiring. Here's a look at Hadid's work:

The entire structure, made of aluminum, is covered with cloth. Now let's take a look inside this spaceship.

Get the picture?
Not so difficult to imagine people stepping on the cloth.
One of the key statements of the manifesto of a group of artists presenting the exhibition Unusually Rare Events is that the artist does not need to think about the spectator when creating the work. Agreed. However, when creating a public work of art (mind you, to some extent any work of art is public), he might want to consider that his work will possibly not only be appreciated like this:

but also like this:


And those, of course, are the "nice" visitors.
The question arises: should we stay with "public-proof" solutions? Hire teams of guards to keep the aura going? Or maybe consider every mark and hole as part of the (pardon the pun) holistic concept of the work of art?

Now I wonder how these marvellously designed shoes by Zaha Hadid feel:
Not to mention the London Aquatics Centre, to be one of the main venues of the 2012 Summer Olympics.
(via)