“During the London Design Festival, The Victoria & Albert Museum invited us to intervene in any space we wanted within the Museum: the result is Textile Field an installation 30 meters long and 8 meters wide which takes over 240m sq of the floor of the famous Raphael Cartoons Gallery.
“An invitation to lascivious reverie. Our intention is to propose a different, casual approach to freely experience what can be a quite intimidating environment, such as a museum. We conceived an expansive, coloured foam and textile piece with gentle inclinations to produce a sensual field on which to comfortably lounge while meditating on the surrounding Raphael Cartoons. Everyone can immerse into this temporary installation, for a minute, an hour or more, that is the idea. No efforts, no apprehension just contemplation.”
A renowned photographer in the fashion industry, Stéphane Laniray travels to Tokyo twice a year. Stuck for long hours in his hotel room, waiting for the next runway event to be shot, the French artist decided to stave off boredom in going out and taking pictures of the city. The Tokyo Architecture series resulted of his wanderings around town. Private dwellings, government buildings and offices, public lighting or factories attracted the eye of Laniray, particulary fond of architecture, and a great admirer of Mies van der Rohe’s achievements.
Tokyo is stripped bare of any explicit representation (crowded and extremely lively, but also suffocatingly hot at the time the series was shot). Each image is multiplied, distorted into a renewed evocation, unleashing imagination. Far from cliché representations of Tokyo, Laniray’s quest for urban poetry reveals the raw beauty of a wall covered in graffiti, and turns a glass building into a finely shaped diamond. In most of the photographs, human beings are nowhere to be seen; a line of trees or tangled electric wires design a whole new urban story. Focused on actual details, the artist depicts a fantasied rendering of Japan’s capital city. Stéphane Laniray, whose pictures can regularly be seen in prominent Interior decorating magazines, owns and runs the Anorak Gallery in Paris.
(Journalist Elodie Palasse-Leroux is the founder and editor of Sleek design)
Tokyo Architecture, by Stéphane Laniray
Designer Taku Satoh recreated a 3-dimensional version of the Japanese alphabet by stacking numerous layers of paper.
The case is a simple cube, with a surface covered with no space matching geometric ornaments produced by CNC-woodturning. So beside the storage function there is originated a new, unusual, powerful abstract sculpture-looking furniture. At a first glance it’s not visible that the furniture hides a relatively large storage place inside due to the optical illusion of the ornaments. The case is diagonally symmetrical, so the storage section can be covered with the lid rotated 180 degrees. Cube Illusion was selected on IFDA Asahikawa 2011 as finalist.
Nature is not evil, it´s ugly. Thats why we have gardens.
It´s like ok, but we can do it a little bit better by arranging everything.
We are obsessed by tetris, order and man-made systems.
Mother Nature, Cliff bird, Model of Surroundings, Modern Painters, Endless Growth,
by Axel Brechensbauer
When race car driver and auctioneer Herve Poulain asked his friend, artist Alexander Calder, to paint the BMW 3.0 CLS that he would race in the 1975 Le Mans endurance race, it was the beginning of a truly gorgeous concept. Calder’s design of the BMW 3.0 CSL was the first Art Car ever, and one of his last works of art before he died in 1976. His rendition of the BMW Art Car boasts powerful colors and attractive curving expanses, which he applied generously to the wings, hood and roof.
Calder saw his art in action when he attended the Le Mans 24-hour race as a guest to witness his work’s premiere.
BMW 3.0 CLS Art Car, for the 1975 Le Mans Endurance Race, by Alexander Calder
via: City Furniture
Eye Exam, by Joel Pirela, Digital art, size: 11″x17″, Printed on 80 lb paper in matte finish, Hand signed and dated, Blue Ant Studio
L’Horloge d’une vie de travail 1
Clock for calculating in real time the hours of work accumulated before retirement (1 minute divided into 60 seconds, 1 week divided into 35 hours, 1 quarter divided into 13 weeks and 40 years divided into 160 quarters). It can be set off by phone in order to meet the needs of today’s increasingly mobile worker. This clock introduces the notion of “individual time” (like “universal time”), which we accumulate only for ourselves. It becomes the reflection of a work system that is moving towards individualisation and is breaking up forms of solidarity by annihilating collective defence strategies.
L’Horloge d’une vie de travail 2
1 minute divided into 60 seconds, 1 week divided into 35 hours, 1 quarter divided into 13 weeks and 40 years and 1 quarter divided into 161 quarters (in keeping with the reform of the law on working time, which came into effect on 1 January 2009).
L’Horloge d’une vie de travail, by Julien Berthier