jueves, 30 de junio de 2016

Pepita Surt / Marc Morro

My last work for Marc Morro aoobarcelona. Pepitu Surt chair, surt means get out in catalan, is made to be outside 24h. It's made 100% of iroko and has an special treatment for outdoor. photo by Ruben Ortiz 


martes, 3 de mayo de 2016

The fruit shop / Hsian Jung



miércoles, 27 de abril de 2016

Richard Neutra research house, Silver Lake

lunes, 25 de abril de 2016

Wooden aquarelle by Meike Harde

Provoked by the movement of pigments and water the compositions are formed by an autonomous colour-dynamic. Wooden aquarelle, a colouring technique for wooden surfaces, allows the mass production of individually unique pieces.


lunes, 8 de febrero de 2016

Instituto superior de arte / La Habana

Once upon a time, there was an exclusive Country Club Park in Havana. After the Revolution, in January 1961, FIDEL CASTRO and CHE GUEVARA, having finished a golf game, dreamt about this Country Club as an incredible complex of tuition-free art schools, highly experimental and conceptually advanced to serve the creation of a “new culture” for the “new man”. That’s how the ISA – Instituto Superior de Arte – was born. To realize such dream, three young and very talented architects were called: RICARDO PORRO (Cuba, 1925 – 2014), ROBERTO GOTTARDI (Italy, 1927), VITTORIO GARATTI (Italy, 1927). Immense Catalan vaults, thousands of bricks and a sky-high ambitious objective were the main elements of one of the most incredible architecture ever conceived. However, by the 1965, the Soviet-inspired functionalist forms became standard in Cuba. Thus, the Art Schools with its exuberant structure and the three architects were accused of being incompatible with the Cuban Revolution, and the entire project was decommissioned. Never fully completed, ISA was left abandoned and overgrown by the jungle until preservation efforts began in the first decade of the 21st Century. The ISAis currently being considered for inclusion on the World Heritage list of sites of “outstanding universal value” to the world.
Text and photo Keisuke Otobe via purple

martes, 26 de enero de 2016

La Villa Santo Sospir / Jean Cocteau

A 35-minute color film by Cocteau entitled "La Villa Santo Sospir." Shot in 1952, this is an "amateur film" done in 16mm, a sort of home movie in which Cocteau takes the viewer on a tour of a friend's villa on the French coast (a major location used in Testament of Orpheus). The house itself is heavily decorated, mostly by Cocteau (and a bit by Picasso), and we are given an extensive tour of the artwork. Cocteau also shows us several dozen paintings as well. Most cover mythological themes, of course. He also proudly shows paintings by Edouard Dermithe and Jean Marais and plays around his own home in Villefranche. This informal little project once again shows the joy Cocteau takes in creating art, in addition to showing a side of his work (his paintings and drawings) that his films often overshadow.


   

miércoles, 20 de enero de 2016

lunes, 18 de enero de 2016

JOIN BY BCXSY

Year: 2010
Place: Tokyo, Japan
In collaboration with: Seihachi Tanaka
Join is the results of our collaboration with Mr. Tanaka – a master of Tategu – the traditional craft of Japanese wood joinery.
Join consists of a series of three space-dividers. In each piece two lined frames, representing the humble integrity inherent to the craft, are visually merged to create a moment that deviates from the conventional Tategu aesthetic, and introduces angles and shapes that are not commonly used in the craft. Because the ‘merged’ element within each piece diverges from the traditional process and the conventional aesthetic, the screens become a natural division in the interior.
Each piece is made from Hinoki (Japanese Cypress), an elegant and pleasantly scented wood that is highly rot-resistance and does not require any additional oils or waxes. Hinoki is the most luxurious wood used in the craft of Tategu.
The three screens in the Join series are available in a limited edition of 8 pieces each and are all handcrafted by Mr. Tanaka in his workshop in Tokyo.
Mr. Tanaka’s work, and the other works we were exposed to, made a deep and lasting impression. We found the process, the extreme skill and accuracy required by the craft fascinating. We were also inspired by the personal touch each Tategu master applies to his work. Every piece requires a variety of different tools that are often custom made by the craftsman to address a specific task.
There is a hidden dialog between the Tategu master and the work he creates – there is a reason for every step, a story behind every pattern.
Our challenge manifested itself in developing a project that was innovative yet still honored the traditional aspects of the craft.