If you would like to discuss a new project or find out more about my work.... You can email me subscribe to my RSS feed follow my blog with bloglovin
Elisabeth Lemercier: no scale, no function, nor proportion cneia, chateau, france on now through to the 19th may, 2013 the ‘OBU’ (original bipolar units) are a series of shimmering polychromatic steel blocks arranged in various iterations through magnetic force -  developed especially for cneia art space in france by architect elisabeth lemercier. the artist organized and rearranges the blocks to form growing  monolithic barriers, framing space, volume and dimension - an artistic exploration reflective of the artist’s architectural background. Elisabeth Lemercier: no scale, no function, nor proportion cneia, chateau, france on now through to the 19th may, 2013 the ‘OBU’ (original bipolar units) are a series of shimmering polychromatic steel blocks arranged in various iterations through magnetic force -  developed especially for cneia art space in france by architect elisabeth lemercier. the artist organized and rearranges the blocks to form growing  monolithic barriers, framing space, volume and dimension - an artistic exploration reflective of the artist’s architectural background. Elisabeth Lemercier: no scale, no function, nor proportion cneia, chateau, france on now through to the 19th may, 2013 the ‘OBU’ (original bipolar units) are a series of shimmering polychromatic steel blocks arranged in various iterations through magnetic force -  developed especially for cneia art space in france by architect elisabeth lemercier. the artist organized and rearranges the blocks to form growing  monolithic barriers, framing space, volume and dimension - an artistic exploration reflective of the artist’s architectural background.

    Elisabeth Lemercier: no scale, no function, nor proportion

    cneia, chateau, france

    on now through to the 19th may, 2013 the ‘OBU’ (original bipolar units) are a series of shimmering polychromatic steel blocks arranged in various iterations through magnetic force - 

    developed especially for cneia art space in france by architect elisabeth lemercier. the artist organized and rearranges the blocks to form growing 

    monolithic barriers, framing space, volume and dimension - an artistic exploration reflective of the artist’s architectural background.

    I “RITRATTI GIGANTESCHI” DEGLI ARREDI DI CASSINA FIRMATI KARL LAGERFELD Cassina, the company famous for its inclination for research and innovation, asked Karl Lagerfeld, director of Chanel, to realize a shooting to Cassina’s furniture, the most representative of contemporary design. The collaboration was presented at the Cassina showroom in Paris the 31st of January 2013. From the LC2 armchair by Le Corbusier, Pierre Jeanneret and Charlotte Perriand to the Auckland armchair by Jean-Marie Massaud, Karl Lagerfeld recounts a brief history of design with the furniture that is part of his own personal collection. Upside down, in conversation, a detail, together or in all their glory, the pieces, familiar because iconic, appear in graphic compositions that make them unusual and mysterious. Without betraying their identity, Karl Lagerfeld seems to extract a sort of humanity from their form. The surprising dimensions of Karl Lagerfeld’s works, which vary between 105cm by 210cm and 150cm by 300cm, are enriched by an incredible plastic and chromatic effect. The production has been assigned to Gerhard Steidl, as has the arrangement of the pictures and the scenography. The works, printed using the technique Lambda C on Kodak Silver Paper sealed in acrylic, are unique and certified by the artist. Even though it was the first time for Karl Lagerfeld to collaborate with a furniture brand for a photographic project, he succeeded. For this reason, Cassina has invited Karl Lagerfeld to create a scenography that will animate its historical showroom in via Durini during the Salone del Mobile in Milan, the most important event for the design sector. With a combination of photographs and furniture scenography, the fashion icon will once again surprise design aficionados with his original vision of the brand. Cassina, azienda celebre per la sua attitudine alla ricerca e all’innovazione, ha chiesto al direttore creativo della maison Chanel di realizzare alcuni scatti ai mobili più rappresentativi del design contemporaneo. Il progetto è stato presentato a Parigi il 31 gennaio presso lo showroom dell’azienda italiana. Karl Lagerfeld ha selezionato accuratamente i suoi oggetti preferiti da far “sfilare” davanti all’obiettivo. Dalla poltrona LC2 di Le Corbusier, Pierre Jeanneret e Charlotte Perriand alla poltrona Auckland di Jean-Marie Massaud, Karl racconta una breve storia del design con gli arredi che appartengono alla sua collezione personale. Il celebre fotografo e stilista reinterpreta le dimensioni e le composizioni dei mobili, rovesciandoli, ponendoli in conversazione tra loro, separandoli o riunendoli assieme nella loro maestosità, donandogli un aspetto grafico insolito e misterioso. La composizione grafica non risulta sconnessa, ma al contrario, ha una grande forma di umanità. Le dimensioni sorprendenti delle opere di Karl Lagerfeld, tra i 105cm per 210cm e 150cm per 300cm, sono arricchite da un’incredibile resa plastica e cromatica. Per quanto riguarda la scenografia e la disposizione dei quadri all’interno del vasto showroom, Gerhard Steidl ha curato tutti i minimi particolari. Le opere, stampate con la tecnica Lambda C on Kodak Silver Paper sealed in acrylic, sono uniche e certificate dall’artista. Karl Lagerfeld, sebbene fosse la sua prima collaborazione con un marchio di arredamento per un progetto fotografico, è riuscito ad interpretare egregiamente la sua missione. Per questo motivo, Cassina ha invitato Karl a realizzare la scenografia che animerà lo showroom storico milanese di via Durini durante il Salone del Mobile 2013. L’icona della moda, ancora una volta, interpreterà l’allestimento di mobili attraverso una sua visione originale. Arianna Bonardi Photo by Karl Lagerfeld – CASSINA I “RITRATTI GIGANTESCHI” DEGLI ARREDI DI CASSINA FIRMATI KARL LAGERFELD Cassina, the company famous for its inclination for research and innovation, asked Karl Lagerfeld, director of Chanel, to realize a shooting to Cassina’s furniture, the most representative of contemporary design. The collaboration was presented at the Cassina showroom in Paris the 31st of January 2013. From the LC2 armchair by Le Corbusier, Pierre Jeanneret and Charlotte Perriand to the Auckland armchair by Jean-Marie Massaud, Karl Lagerfeld recounts a brief history of design with the furniture that is part of his own personal collection. Upside down, in conversation, a detail, together or in all their glory, the pieces, familiar because iconic, appear in graphic compositions that make them unusual and mysterious. Without betraying their identity, Karl Lagerfeld seems to extract a sort of humanity from their form. The surprising dimensions of Karl Lagerfeld’s works, which vary between 105cm by 210cm and 150cm by 300cm, are enriched by an incredible plastic and chromatic effect. The production has been assigned to Gerhard Steidl, as has the arrangement of the pictures and the scenography. The works, printed using the technique Lambda C on Kodak Silver Paper sealed in acrylic, are unique and certified by the artist. Even though it was the first time for Karl Lagerfeld to collaborate with a furniture brand for a photographic project, he succeeded. For this reason, Cassina has invited Karl Lagerfeld to create a scenography that will animate its historical showroom in via Durini during the Salone del Mobile in Milan, the most important event for the design sector. With a combination of photographs and furniture scenography, the fashion icon will once again surprise design aficionados with his original vision of the brand. Cassina, azienda celebre per la sua attitudine alla ricerca e all’innovazione, ha chiesto al direttore creativo della maison Chanel di realizzare alcuni scatti ai mobili più rappresentativi del design contemporaneo. Il progetto è stato presentato a Parigi il 31 gennaio presso lo showroom dell’azienda italiana. Karl Lagerfeld ha selezionato accuratamente i suoi oggetti preferiti da far “sfilare” davanti all’obiettivo. Dalla poltrona LC2 di Le Corbusier, Pierre Jeanneret e Charlotte Perriand alla poltrona Auckland di Jean-Marie Massaud, Karl racconta una breve storia del design con gli arredi che appartengono alla sua collezione personale. Il celebre fotografo e stilista reinterpreta le dimensioni e le composizioni dei mobili, rovesciandoli, ponendoli in conversazione tra loro, separandoli o riunendoli assieme nella loro maestosità, donandogli un aspetto grafico insolito e misterioso. La composizione grafica non risulta sconnessa, ma al contrario, ha una grande forma di umanità. Le dimensioni sorprendenti delle opere di Karl Lagerfeld, tra i 105cm per 210cm e 150cm per 300cm, sono arricchite da un’incredibile resa plastica e cromatica. Per quanto riguarda la scenografia e la disposizione dei quadri all’interno del vasto showroom, Gerhard Steidl ha curato tutti i minimi particolari. Le opere, stampate con la tecnica Lambda C on Kodak Silver Paper sealed in acrylic, sono uniche e certificate dall’artista. Karl Lagerfeld, sebbene fosse la sua prima collaborazione con un marchio di arredamento per un progetto fotografico, è riuscito ad interpretare egregiamente la sua missione. Per questo motivo, Cassina ha invitato Karl a realizzare la scenografia che animerà lo showroom storico milanese di via Durini durante il Salone del Mobile 2013. L’icona della moda, ancora una volta, interpreterà l’allestimento di mobili attraverso una sua visione originale. Arianna Bonardi Photo by Karl Lagerfeld – CASSINA I “RITRATTI GIGANTESCHI” DEGLI ARREDI DI CASSINA FIRMATI KARL LAGERFELD Cassina, the company famous for its inclination for research and innovation, asked Karl Lagerfeld, director of Chanel, to realize a shooting to Cassina’s furniture, the most representative of contemporary design. The collaboration was presented at the Cassina showroom in Paris the 31st of January 2013. From the LC2 armchair by Le Corbusier, Pierre Jeanneret and Charlotte Perriand to the Auckland armchair by Jean-Marie Massaud, Karl Lagerfeld recounts a brief history of design with the furniture that is part of his own personal collection. Upside down, in conversation, a detail, together or in all their glory, the pieces, familiar because iconic, appear in graphic compositions that make them unusual and mysterious. Without betraying their identity, Karl Lagerfeld seems to extract a sort of humanity from their form. The surprising dimensions of Karl Lagerfeld’s works, which vary between 105cm by 210cm and 150cm by 300cm, are enriched by an incredible plastic and chromatic effect. The production has been assigned to Gerhard Steidl, as has the arrangement of the pictures and the scenography. The works, printed using the technique Lambda C on Kodak Silver Paper sealed in acrylic, are unique and certified by the artist. Even though it was the first time for Karl Lagerfeld to collaborate with a furniture brand for a photographic project, he succeeded. For this reason, Cassina has invited Karl Lagerfeld to create a scenography that will animate its historical showroom in via Durini during the Salone del Mobile in Milan, the most important event for the design sector. With a combination of photographs and furniture scenography, the fashion icon will once again surprise design aficionados with his original vision of the brand. Cassina, azienda celebre per la sua attitudine alla ricerca e all’innovazione, ha chiesto al direttore creativo della maison Chanel di realizzare alcuni scatti ai mobili più rappresentativi del design contemporaneo. Il progetto è stato presentato a Parigi il 31 gennaio presso lo showroom dell’azienda italiana. Karl Lagerfeld ha selezionato accuratamente i suoi oggetti preferiti da far “sfilare” davanti all’obiettivo. Dalla poltrona LC2 di Le Corbusier, Pierre Jeanneret e Charlotte Perriand alla poltrona Auckland di Jean-Marie Massaud, Karl racconta una breve storia del design con gli arredi che appartengono alla sua collezione personale. Il celebre fotografo e stilista reinterpreta le dimensioni e le composizioni dei mobili, rovesciandoli, ponendoli in conversazione tra loro, separandoli o riunendoli assieme nella loro maestosità, donandogli un aspetto grafico insolito e misterioso. La composizione grafica non risulta sconnessa, ma al contrario, ha una grande forma di umanità. Le dimensioni sorprendenti delle opere di Karl Lagerfeld, tra i 105cm per 210cm e 150cm per 300cm, sono arricchite da un’incredibile resa plastica e cromatica. Per quanto riguarda la scenografia e la disposizione dei quadri all’interno del vasto showroom, Gerhard Steidl ha curato tutti i minimi particolari. Le opere, stampate con la tecnica Lambda C on Kodak Silver Paper sealed in acrylic, sono uniche e certificate dall’artista. Karl Lagerfeld, sebbene fosse la sua prima collaborazione con un marchio di arredamento per un progetto fotografico, è riuscito ad interpretare egregiamente la sua missione. Per questo motivo, Cassina ha invitato Karl a realizzare la scenografia che animerà lo showroom storico milanese di via Durini durante il Salone del Mobile 2013. L’icona della moda, ancora una volta, interpreterà l’allestimento di mobili attraverso una sua visione originale. Arianna Bonardi Photo by Karl Lagerfeld – CASSINA I “RITRATTI GIGANTESCHI” DEGLI ARREDI DI CASSINA FIRMATI KARL LAGERFELD Cassina, the company famous for its inclination for research and innovation, asked Karl Lagerfeld, director of Chanel, to realize a shooting to Cassina’s furniture, the most representative of contemporary design. The collaboration was presented at the Cassina showroom in Paris the 31st of January 2013. From the LC2 armchair by Le Corbusier, Pierre Jeanneret and Charlotte Perriand to the Auckland armchair by Jean-Marie Massaud, Karl Lagerfeld recounts a brief history of design with the furniture that is part of his own personal collection. Upside down, in conversation, a detail, together or in all their glory, the pieces, familiar because iconic, appear in graphic compositions that make them unusual and mysterious. Without betraying their identity, Karl Lagerfeld seems to extract a sort of humanity from their form. The surprising dimensions of Karl Lagerfeld’s works, which vary between 105cm by 210cm and 150cm by 300cm, are enriched by an incredible plastic and chromatic effect. The production has been assigned to Gerhard Steidl, as has the arrangement of the pictures and the scenography. The works, printed using the technique Lambda C on Kodak Silver Paper sealed in acrylic, are unique and certified by the artist. Even though it was the first time for Karl Lagerfeld to collaborate with a furniture brand for a photographic project, he succeeded. For this reason, Cassina has invited Karl Lagerfeld to create a scenography that will animate its historical showroom in via Durini during the Salone del Mobile in Milan, the most important event for the design sector. With a combination of photographs and furniture scenography, the fashion icon will once again surprise design aficionados with his original vision of the brand. Cassina, azienda celebre per la sua attitudine alla ricerca e all’innovazione, ha chiesto al direttore creativo della maison Chanel di realizzare alcuni scatti ai mobili più rappresentativi del design contemporaneo. Il progetto è stato presentato a Parigi il 31 gennaio presso lo showroom dell’azienda italiana. Karl Lagerfeld ha selezionato accuratamente i suoi oggetti preferiti da far “sfilare” davanti all’obiettivo. Dalla poltrona LC2 di Le Corbusier, Pierre Jeanneret e Charlotte Perriand alla poltrona Auckland di Jean-Marie Massaud, Karl racconta una breve storia del design con gli arredi che appartengono alla sua collezione personale. Il celebre fotografo e stilista reinterpreta le dimensioni e le composizioni dei mobili, rovesciandoli, ponendoli in conversazione tra loro, separandoli o riunendoli assieme nella loro maestosità, donandogli un aspetto grafico insolito e misterioso. La composizione grafica non risulta sconnessa, ma al contrario, ha una grande forma di umanità. Le dimensioni sorprendenti delle opere di Karl Lagerfeld, tra i 105cm per 210cm e 150cm per 300cm, sono arricchite da un’incredibile resa plastica e cromatica. Per quanto riguarda la scenografia e la disposizione dei quadri all’interno del vasto showroom, Gerhard Steidl ha curato tutti i minimi particolari. Le opere, stampate con la tecnica Lambda C on Kodak Silver Paper sealed in acrylic, sono uniche e certificate dall’artista. Karl Lagerfeld, sebbene fosse la sua prima collaborazione con un marchio di arredamento per un progetto fotografico, è riuscito ad interpretare egregiamente la sua missione. Per questo motivo, Cassina ha invitato Karl a realizzare la scenografia che animerà lo showroom storico milanese di via Durini durante il Salone del Mobile 2013. L’icona della moda, ancora una volta, interpreterà l’allestimento di mobili attraverso una sua visione originale. Arianna Bonardi Photo by Karl Lagerfeld – CASSINA

      I “RITRATTI GIGANTESCHI” DEGLI ARREDI DI CASSINA FIRMATI KARL LAGERFELD

      Cassina, the company famous for its inclination for research and innovation, asked Karl Lagerfeld, director of Chanel, to realize a shooting to Cassina’s furniture, the most representative of contemporary design. The collaboration was presented at the Cassina showroom in Paris the 31st of January 2013. From the LC2 armchair by Le Corbusier, Pierre Jeanneret and Charlotte Perriand to the Auckland armchair by Jean-Marie Massaud, Karl Lagerfeld recounts a brief history of design with the furniture that is part of his own personal collection. Upside down, in conversation, a detail, together or in all their glory, the pieces, familiar because iconic, appear in graphic compositions that make them unusual and mysterious. Without betraying their identity, Karl Lagerfeld seems to extract a sort of humanity from their form. The surprising dimensions of Karl Lagerfeld’s works, which vary between 105cm by 210cm and 150cm by 300cm, are enriched by an incredible plastic and chromatic effect. The production has been assigned to Gerhard Steidl, as has the arrangement of the pictures and the scenography. The works, printed using the technique Lambda C on Kodak Silver Paper sealed in acrylic, are unique and certified by the artist. Even though it was the first time for Karl Lagerfeld to collaborate with a furniture brand for a photographic project, he succeeded. For this reason, Cassina has invited Karl Lagerfeld to create a scenography that will animate its historical showroom in via Durini during the Salone del Mobile in Milan, the most important event for the design sector. With a combination of photographs and furniture scenography, the fashion icon will once again surprise design aficionados with his original vision of the brand.

      Cassina, azienda celebre per la sua attitudine alla ricerca e all’innovazione, ha chiesto al direttore creativo della maison Chanel di realizzare alcuni scatti ai mobili più rappresentativi del design contemporaneo. Il progetto è stato presentato a Parigi il 31 gennaio presso lo showroom dell’azienda italiana. Karl Lagerfeld ha selezionato accuratamente i suoi oggetti preferiti da far “sfilare” davanti all’obiettivo. Dalla poltrona LC2 di Le Corbusier, Pierre Jeanneret e Charlotte Perriand alla poltrona Auckland di Jean-Marie Massaud, Karl racconta una breve storia del design con gli arredi che appartengono alla sua collezione personale. Il celebre fotografo e stilista reinterpreta le dimensioni e le composizioni dei mobili, rovesciandoli, ponendoli in conversazione tra loro, separandoli o riunendoli assieme nella loro maestosità, donandogli un aspetto grafico insolito e misterioso. La composizione grafica non risulta sconnessa, ma al contrario, ha una grande forma di umanità. Le dimensioni sorprendenti delle opere di Karl Lagerfeld, tra i 105cm per 210cm e 150cm per 300cm, sono arricchite da un’incredibile resa plastica e cromatica. Per quanto riguarda la scenografia e la disposizione dei quadri all’interno del vasto showroom, Gerhard Steidl ha curato tutti i minimi particolari. Le opere, stampate con la tecnica Lambda C on Kodak Silver Paper sealed in acrylic, sono uniche e certificate dall’artista. Karl Lagerfeld, sebbene fosse la sua prima collaborazione con un marchio di arredamento per un progetto fotografico, è riuscito ad interpretare egregiamente la sua missione. Per questo motivo, Cassina ha invitato Karl a realizzare la scenografia che animerà lo showroom storico milanese di via Durini durante il Salone del Mobile 2013. L’icona della moda, ancora una volta, interpreterà l’allestimento di mobili attraverso una sua visione originale.

      Arianna Bonardi

      Photo by Karl Lagerfeld – CASSINA

      Times Square’s New Heart Formed with Salvaged Hurricane Sandy Debris A sweet yet meaningful new art installation was recently unveiled in Times Square. Brooklyn-based design firm Situ Studio created Heartwalk, a heart-shaped enclosure made from boardwalk boards salvaged from the aftermath of Hurricane Sandy. Collected both from New York and New Jersey, the boards form a slatted construction that lifts from the ground and is illuminated from within. Visitors are encouraged to enter the installation and literally stand in the heart of the city. Times Square’s New Heart Formed with Salvaged Hurricane Sandy Debris A sweet yet meaningful new art installation was recently unveiled in Times Square. Brooklyn-based design firm Situ Studio created Heartwalk, a heart-shaped enclosure made from boardwalk boards salvaged from the aftermath of Hurricane Sandy. Collected both from New York and New Jersey, the boards form a slatted construction that lifts from the ground and is illuminated from within. Visitors are encouraged to enter the installation and literally stand in the heart of the city. Times Square’s New Heart Formed with Salvaged Hurricane Sandy Debris A sweet yet meaningful new art installation was recently unveiled in Times Square. Brooklyn-based design firm Situ Studio created Heartwalk, a heart-shaped enclosure made from boardwalk boards salvaged from the aftermath of Hurricane Sandy. Collected both from New York and New Jersey, the boards form a slatted construction that lifts from the ground and is illuminated from within. Visitors are encouraged to enter the installation and literally stand in the heart of the city. Times Square’s New Heart Formed with Salvaged Hurricane Sandy Debris A sweet yet meaningful new art installation was recently unveiled in Times Square. Brooklyn-based design firm Situ Studio created Heartwalk, a heart-shaped enclosure made from boardwalk boards salvaged from the aftermath of Hurricane Sandy. Collected both from New York and New Jersey, the boards form a slatted construction that lifts from the ground and is illuminated from within. Visitors are encouraged to enter the installation and literally stand in the heart of the city. Times Square’s New Heart Formed with Salvaged Hurricane Sandy Debris A sweet yet meaningful new art installation was recently unveiled in Times Square. Brooklyn-based design firm Situ Studio created Heartwalk, a heart-shaped enclosure made from boardwalk boards salvaged from the aftermath of Hurricane Sandy. Collected both from New York and New Jersey, the boards form a slatted construction that lifts from the ground and is illuminated from within. Visitors are encouraged to enter the installation and literally stand in the heart of the city.

        Times Square’s New Heart Formed with Salvaged Hurricane Sandy Debris

        A sweet yet meaningful new art installation was recently unveiled in Times Square. Brooklyn-based design firm Situ Studio created Heartwalk, a heart-shaped enclosure made from boardwalk boards salvaged from the aftermath of Hurricane Sandy. Collected both from New York and New Jersey, the boards form a slatted construction that lifts from the ground and is illuminated from within. Visitors are encouraged to enter the installation and literally stand in the heart of the city.

        (via devidsketchbook)

        Stockholm Furniture Fair Pavilion by Gert Wingårdh & Kustaa Saksi The design suggests a church interior, with rows of high tables in front of an ‘altar’ where panels hold sway. The table tops are made of a mirror laminate and balance on stacks of A3 paper sheets – 700,000 in total. The entire dome-like structure consists of stacks of paper sheets that hang from the roof in a Venetian blind-like construction. The lowest sheet in each stack carries part of a gigantic illustration that forms the dome-shaped ceiling. Preparations for construction have been going on for months and the actual raising of the dome is something of a never-ending task. “Precision in all the preliminary work is crucial. and are then gradually hoisted up,” reports Sanna Gebeyehu. Stockholm Furniture Fair Pavilion by Gert Wingårdh & Kustaa Saksi The design suggests a church interior, with rows of high tables in front of an ‘altar’ where panels hold sway. The table tops are made of a mirror laminate and balance on stacks of A3 paper sheets – 700,000 in total. The entire dome-like structure consists of stacks of paper sheets that hang from the roof in a Venetian blind-like construction. The lowest sheet in each stack carries part of a gigantic illustration that forms the dome-shaped ceiling. Preparations for construction have been going on for months and the actual raising of the dome is something of a never-ending task. “Precision in all the preliminary work is crucial. and are then gradually hoisted up,” reports Sanna Gebeyehu. Stockholm Furniture Fair Pavilion by Gert Wingårdh & Kustaa Saksi The design suggests a church interior, with rows of high tables in front of an ‘altar’ where panels hold sway. The table tops are made of a mirror laminate and balance on stacks of A3 paper sheets – 700,000 in total. The entire dome-like structure consists of stacks of paper sheets that hang from the roof in a Venetian blind-like construction. The lowest sheet in each stack carries part of a gigantic illustration that forms the dome-shaped ceiling. Preparations for construction have been going on for months and the actual raising of the dome is something of a never-ending task. “Precision in all the preliminary work is crucial. and are then gradually hoisted up,” reports Sanna Gebeyehu. Stockholm Furniture Fair Pavilion by Gert Wingårdh & Kustaa Saksi The design suggests a church interior, with rows of high tables in front of an ‘altar’ where panels hold sway. The table tops are made of a mirror laminate and balance on stacks of A3 paper sheets – 700,000 in total. The entire dome-like structure consists of stacks of paper sheets that hang from the roof in a Venetian blind-like construction. The lowest sheet in each stack carries part of a gigantic illustration that forms the dome-shaped ceiling. Preparations for construction have been going on for months and the actual raising of the dome is something of a never-ending task. “Precision in all the preliminary work is crucial. and are then gradually hoisted up,” reports Sanna Gebeyehu.

          Stockholm Furniture Fair Pavilion by Gert Wingårdh & Kustaa Saksi

          The design suggests a church interior, with rows of high tables in front of an ‘altar’ where panels hold sway. The table tops are made of a mirror laminate and balance on stacks of A3 paper sheets – 700,000 in total. The entire dome-like structure consists of stacks of paper sheets that hang from the roof in a Venetian blind-like construction. The lowest sheet in each stack carries part of a gigantic illustration that forms the dome-shaped ceiling. Preparations for construction have been going on for months and the actual raising of the dome is something of a never-ending task. “Precision in all the preliminary work is crucial. and are then gradually hoisted up,” reports Sanna Gebeyehu.

          La Chaleur de L’amour & la Beauté des Paroles (The warmth of love & the beauty of words) by Jad Melki. Using an exposed mattress and warmly lighting it to make it glow, Melki converted its inner springs into words and sentences extracted from letters written by his mother when she was in Sierra Leon in 1974 to his father at the American Univeristy of Beirut (via). La Chaleur de L’amour & la Beauté des Paroles (The warmth of love & the beauty of words) by Jad Melki. Using an exposed mattress and warmly lighting it to make it glow, Melki converted its inner springs into words and sentences extracted from letters written by his mother when she was in Sierra Leon in 1974 to his father at the American Univeristy of Beirut (via). La Chaleur de L’amour & la Beauté des Paroles (The warmth of love & the beauty of words) by Jad Melki. Using an exposed mattress and warmly lighting it to make it glow, Melki converted its inner springs into words and sentences extracted from letters written by his mother when she was in Sierra Leon in 1974 to his father at the American Univeristy of Beirut (via).

            La Chaleur de L’amour & la Beauté des Paroles (The warmth of love & the beauty of words) by Jad Melki. Using an exposed mattress and warmly lighting it to make it glow, Melki converted its inner springs into words and sentences extracted from letters written by his mother when she was in Sierra Leon in 1974 to his father at the American Univeristy of Beirut (via).

            Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website. Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website. Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website. Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website. Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website. Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website. Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website. Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website. Stratachromes David Spriggs Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website.

              Stratachromes David Spriggs

              Red, Green and Blue are three installations by Canadian/UK artist, David Spriggs that continue the artist’s exploration of the physicality and spatial perception of colour. In his work, Spriggs examines the particular symbolic, perceptual, social, political, and historical connotations attached to individual colours. All the installations shown are acrylic on layered transparent film, for more detail about each installation visit the artists’ website.

              (via rcruzniemiec-deactivated2013020)

              Just opened at White Cube Mason’s Yard is ‘Kris Martin’, a conceptual exhibition that includes a honeycomb cast in bronze (pictured), a room full of 104 standing stones that could be either tiles or gravestones, and a collection of small collages made from antique prints. The aim s to challenge people’s perceptions of such everyday objects and create new narratives, but if that sounds a little daunting, you can equally just revel in their beauty. Until March 16 (http://whitecube.com/exhibitions/kris_martin_masons_yard_2013/).