Branca, something of how they are made.
Branca is inspired by wooden branches that turn, twist, meet and branch off.
The result is comfort to the eye, to the body and to the hand.
Design: Sam Hecht / Industrial Facility, 2010 – industrialfacility.co.uk
Manufacturer: Mattiazzi SpA – mattiazzi.eu
Commissioning Editor: Daniel Charny
Directed / Camera / Edit: Juriaan Booij – juriaanbooij.com
Der zweite Teil der Time-Lapse Produktion „Lights over Switzerland“. Die Bilder dieser Zeitraffer Aufnahmen stammen alle aus der Schweiz, die Meisten entstanden nachts unter klarem Sternenhimmel. Unter anderem wurden Szenen in den Gebieten Wallis, Graubünden und in Bern aufgenommen, an den schönsten Naturplätzen, die die Schweiz zu bieten hat.
The second part of the time-lapse production “Lights over Switzerland”. The images of this lapse are all from Switzerland, mostly taken at night under the stars. The scenes were taken in the region of Valais, Graubünden and Bern on the most beautiful natural places which Switzerland offers.
Maya Erickson’s Black Sesame Dessert
Film by Director Jennifer Davick and Executive Producer Amy Yvonne Yu
DP Devin Whetstone | Story by Writer Tanner Latham | Post-Production by Mission Film & Design
Stylized, Sexy, Provocative and Decadent. Everything You Would Expect from a Grandmother’s Recipe.
At 13 years old, Maya Erickson was working in a professional kitchen, tasked primarily with filling cookies and wrapping tuiles. She shrugs this detail off now, as if it’s simply a throwaway line unworthy of her bio. As if most newly-turned teenagers must surely have been like her—resisting the temptation to toggle among their screens and choosing, instead, a highly disciplined path.
It is with this kind of casual, unassuming tone that this wunderkind (now she’s in her mid-20s), pastry chef describes her Black Sesame Ice Cream with Black Sesame Pudding, a dessert rooted in her former chef’s grandmother’s poppy seed pudding recipe yet presented with a stylized, sexy and provocative manner that’s as arresting and mood-evoking visually as it is to the palate.
Maya created this dessert while working as the pastry chef at Lazy Bear, a San Francisco restaurant that grew from the cult-like following of an underground supper club and whose own chef/owner David Barzelay recently received the nod as a 2016 Food and Wine Best New Chef.
To complement the ice cream and pudding, Maya’s Black Sesame dessert features cassis jam, cassis pate de fruit, dehydrated devil’s food cake, forbidden rice pudding and a light dusting of charcoal. This creation—with its colors and flavors and textures—makes you question what you think you know about food. This is the epitome of Maya’s gift to anyone lucky enough to receive it—a delicately plated, understated, experiential dessert that decadently performs.
1rst burning man for me and my wife and really happy to be one of the few drone pilots this year.
Special thanks to Scott London with whom I have had the chance to work.
Enjoy a different view.
Love to meet so many people, so friendly.
After the video , go on the blog of my wife Ghislaine , amazing photos:
Philippe from France
My blog philofdrones.com
my Facebook page : ” phil of drone ” if you want to follow me , it will be a pleasure
Frank Lloyd Wright, legendary American architect and genius mind behind the Organic Architecture philosophy, once said :
« The mother Art is Architecture. Without an Architecture of our own we have no soul of our own civilization. ”
This quote resonated within me while I explored the city of Chicago in the summer of 2014. Wandering those streets with my camera and a tripod, I felt a sort of peacefulness that I wasn’t expecting to find in this temple of concrete and corporate business. I witnessed a natural harmony between the architecture, the environment, and the human beings spread across the city. It was summer; the beaches that line Lake Michigan were packed like seaside resorts and Chicagoans were sunbathing on their boats or playing volleyball on the sand. Everything looked surreal and so very different from the Chicago I expected to encounter. But just a few blocks away from the lakefront was the heart of the Loop—Chicago’s downtown and financial district—where lawyers, stock traders, and office workers walked alongside tourists beneath the mythical tracks of the elevated transit lines. The ‘L’, as those lines are called in the Chi, runs through and around the Loop, next to the city’s tallest buildings, which stand strong, high, and proud. That’s one thing that struck me in the Windy City—each edifice had its own style and identity, yet they combined to form blocks and tableaux that made you feel the genuine soul emanating from each neighborhood. Using the 2.35 aspect ratio and perspective, I tried to frame these endless skyscrapers and towers as if they were part of original sketches, and by doing so I hope to pay tribute to the great architects and designers behind some of the most iconic buildings in Chicago.
Directed, Shot & Edited by Kevin Couliau
Color Grading : Fred Fleureau
Motion Design : Charly Jacquette
Sound by Benzene Music
Music by Rawman
Sound Design & Mix by Loic Canevet
Supervision : Benjamin Desplanques
Location Scout : Caroline Blaise
Shot on a Canon 5D Mark III with a 17-40mm f4 and a 70-200mm 2:8 IS II on a Manfrotto 190CX Pro 3 tripod.
– In Order of Appearance –
1. Tribune Tower / John Howells & Raymond Hood, 1925
2. Aon Center / Edward Durell Stone, 1973
3. Bp Bridge / Frank Gehry, 2004
4. John Hancock Center / Skidmore, Owings & Merrill, 1969
5. Aqua / Studio Gang, 2009
6. The Loop / CTA, 1895
7. Lake Point Tower / Schipporeit-Heinrich Associates, Graham, Anderson, Probst & White, 1968
8. The Parkshore / Barancik Conte, 1991
9. Navy Pier Ferris wheel / George Washington Gale Ferris Junior, 1983
10. 500 Lake Shore Drive / Solomon Cordwell Buenz, 2013
11. South Pond Pavilion / Studio Gang, 2010
We’ve handpicked the best cooking schools from around the world, including a Tasmanian cook leading guests from garden to kitchen and a chef’s guide to the markets of Israel.
To discover more about Monocle magazine head to www.monocle.com
In a previous video, we attended the opening night of the Public sector of Art Basel in Miami Beach 2015. This video shows how the outdoor sculptures and site-specific installations look by day. As a reminder, the 2015 edition of Public is titled “Metaforms”. Metaforms presents works by the artists Olaf Breuning, James Capper, Tony Cragg, Melvin Edwards, Sam Falls, Sylvie Fleury, Katharina Grosse, Matt Johnson, Jacob Kassay, Kris Martin, Rubén Ortiz Torres, Athena Papadopoulos, Ishmael Randall-Weeks, Sterling Ruby, Michael Sailstorfer, Tomás Saraceno, Tony Tasset, Rirkrit Tiravanija, Francisco Ugarte, Timm Ulrichs, Marianne Vitale, Ursula von Rydingsvard, Hank Willis Thomas, Robert Wilson, Yan Xing, and Yiao Yu.
Art Basel Miami Beach 2015: Public Sector by Day. Miami Beach, Florida (USA), December 3, 2015.
Crosby Street Hotel, an outsider becomes an insider. Finding what’s been missing for so long, up in the penthouse. A poetry of past and present.
Starring Paul Lazar, Anthony Ramos, Jennifer Westfeldt, Aya Cash, and Hailey Benton Gates
Directed by Celia Rowlson-Hall
Cinematography by Andrew Droz Palermo
Editing by Iva Radivojevic
Produced by Andrea Roa and Orlee-Rose Strauss
Creative Directors: Henry Joost and Ariel Schulman
Entire series here: 10crosbyfilms.dereklam.com/
An animated data-driven documentary about war and peace, The Fallen of World War II looks at the human cost of the second World War and sizes up the numbers to other wars in history, including trends in recent conflicts.
To coincide with the retrospective exhibition of Yohji Yamamoto’s work at the V&A, SHOWstudio.com showcases a unique discussion between three collaborators who helped shape the visual identity of Yamamoto in the 1980s. In this 50-minute film shot in the V&A’s Norfolk House Music room, art director Marc Ascoli, fashion photographer Nick Knight and graphic designer and art director Peter Saville are in conversation with London College of Fashion curator Magdalene Keaney.
Nick Knight: I think that to see the work that we did in context, you have to look at the fashion magazines of 1986 and see what was going on in those fashion magazines. It was about a million miles away from what we did.
Peter Saville: Unfortunately, it is the beginning of where it all goes horribly wrong. I mean the coherence and the cohesion between what Yohji was doing on the other side of the world and then Marc’s position in Paris and then the part of the UK culture that Nick came from and then the part that I came from is beginning of what you would call convergence, what we do now call convergence. But it was, in a way, a quite positive and utopian convergence at that time.
Marc Ascoli: That’s true.
PS: Nick introduced me into the system, that bit came next … you do that bit … Nick, just finish that bit.
NK: So I’ll do my version of the history. I completed a hundred portraits through a woman who ran a model agency, a very good model agency, called Z Models. She used to find all the most interesting models – not the mainstream models … all the best models. She also looked around for different talent. Marc knew her, he asked her who was interesting in London at the moment and she introduced my work to Marc. Then Marc and I got on and he liked my work and I went across to Paris and Marc said OK, so do the photographs, I’ll art direct them, but who can create the – who can do the graphic design?
PS: Who said that? You said that?
NK: Marc said that. So I said well, there’s somebody who I’ve worked with over the past couple of years on and off, and I introduced Marc to Peter.
PS: So there was a convergence of mood between the three of us. All three on exactly the same wave length and it comes out in those first two catalogues.
NK: I knew a small amount about Yohji Yamamoto. He represented the beginnings of something very exciting but slightly away on the horizon. The world of fashion that I knew at the time – I was interested in the world of people like Lee Barry, Taboo, Michael Clark – very extreme. You’re talking about people who were taking almost performance art into fashion. So that was the sort of world that I was looking at and was attracted by. When Yohji Yamamoto first came along it really was a distant star, something exciting and appealing on the horizon. So in 1985 when Marc first came to see me, it was really a long way off, it hadn’t really quite got to London. It wasn’t really part of the fashion vernacular, it wasn’t what was going on, it wasn’t part of mainstream fashion. The reason I fell in love with it and the reason I ended up believing in it so firmly is it represented a very interesting vision of women. Previously in fashion women had been represented overtly sexually, especially in fashion imagery. You have got to think about what went on in the 1970s, with people like Wangenheim, Bourdin … It was an overtly sexual way of behaving and that was represented in photographers who chose fashion photography to talk about their sexual orientation or their sexual desires. And that was the mainstream. And I always felt really uncomfortable with that. When Yohji arrived, here was somebody proposing fashion which wasn’t about women articulating their sexuality as a primary way of behaving and that was what attracted me to it. I thought this is actually to do with seeing women as intellectual beings and not seeing them as sexual beings. It was enormously different to what was going on at the time and I thought it was enormously interesting.
Magdalene Keaney: So kind of starting to really hone in on the production of the catalogues and your work together. Again, we’ve talked around this a little bit. Can you describe the tension, if there was one or alternatively the joy of the kind of functionality of what a look book or a fashion seasonal catalogue is as a document.
NK: I have to stop you there, Magda. There’s a big difference between a look book …
MK: OK, the functionality of the catalogue, so either the tension or the joy, the other end of it between the kind of function …
PS: No joy – do you remember any joy?
MK: Between the functionality of the catalogue as a document or a commercial product, which it is in some way … or it operates in a commercial way.
PS: I mean it’s a work, a collective work of it’s own … this is a new way, not really done before. They were innovations in themselves.
NK: As I understood it, there was something that Yohji Yamamoto had created with Marc to se
1980年代にヨウジヤマモトのビジュアルアイデンティティをつくりだした3人のコラボレーター – マーク・アスコリ、ニック・ナイト、ピーター・サヴィルの鼎談