An apartment designed by Future Facility with integrated products and services for the elderly, commissioned by the Helen Hamlyn Foundation on the occasion of the New Old exhibition held at the Design Museum in London.
This harrowing expedition pushed a group of mountaineers to the mental and physical brink; carving them Down To Nothing. A six-person team from The North Face and National Geographic attempted to summit an obscure peak in Myanmar (Hkakabo Razi) to determine if it is Southeast Asia’s highest point. The expedition members, led by The North Face athlete and Telluride mountaineer Hilaree O’Neill include, videographer Renan Ozturk, climber Emily Harrington, and National Geographic author Mark Jenkins, photographer Cory Richards, and basecamp manager Taylor Rees.
More from the expedition:
Read blogs from the athletes in the field @ neverstopexploring.com/expeditions/myanmar/
See more from them on Instagram, Twitter, and Facebook with #MyanmarClimb.
Watch the behind the scenes edit from National Geographic @ bit.ly/1MAYL4A
Read Mark Jenkins’ article in National Geographic @ bit.ly/1MAYU7S
Olafur Arnalds – “Frysta”
Hecq – “Madison”
Sunday Ent. – “Small Part”
Cody Westheimer – “Camping Solo”
Music by Marmoset
East Forest – “Toad Lick”
Yardass – “Inglorious Finale”
Matthew Morgan – “Meadowlarks” + “ Sun Through The Clouds”
Exposition Daido Moriyama, Daido Tokyo
6 février › 5 juin 2016
La Fondation Cartier pour l’art contemporain consacre une exposition à Daido Moriyama, figure incontournable de la photographie japonaise. Né en 1938 à Ikeda, Daido Moriyama invente dès le milieu des années 1960 un langage visuel nouveau, frénétique et tourmenté, privilégiant le flou, le grain et la déformation du réel. Après avoir consacré en 2004 une importante exposition personnelle à Daido Moriyama, présentant son œuvre en noir et blanc, la Fondation Cartier pour l’art contemporain dévoile un aspect moins connu de son travail. Composée exclusivement de photographies couleur, cette nouvelle exposition a pour sujet les quartiers underground de la capitale nippone si familiers au photographe. On y retrouvera la noirceur et les motifs qui traversent l’œuvre de l’artiste et traduisent son goût des cadrages chancelants et des textures.
Commissaire : Alexis Fabry
An inside view of the Alexander McQueen: Savage Beauty exhibition including interviews with Claire Wilcox, Katy England and Sean Leane.
Alexander McQueen: Savage Beauty
In partnership with Swarovski
14 March – 2 August 2015
Alexander McQueen was one of the most innovative designers of his generation and celebrated for his extraordinary creative talent. This spectacular exhibition is the only major retrospective of McQueen’s work to be presented in Europe and showcases the best of his creative output of womenswear from his 1992 Central Saint Martin’s postgraduate collection to his A/W 2010 collection which was unfinished at the time of his death.
Supported by American Express
With thanks to M.A.C Cosmetics
Technology partner Samsung
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
I produced Architecture & Influence as part the Philip Johnson Glass House Oral History Project for use on their web site and in their visitor center. Working with Project Director, Dorothy Dunn, we interviewed Norman Foster, Michael Graves. Charles Gwathmey, Richard Meier, Jaquelin T. Robertson, Richard Rogers, Vincent Scully, and Robert A. M. Stern–individuals for whom Philip Johnson was mentor, sponsor, and friend. I was responsible for selecting excerpts from the oral history interviews, selecting imagery, and scripting and editing the program in collaboration with Dorothy Dunn.
On the run up to the Stirling Prize, 2016, The Architect’s Journal takes a look into the six nominated buildings, with interviews from the architects.
This private gallery in Vauxhall has involved the conversion of an extraordinary terrace of listed industrial buildings, that were formerly theatre carpentry and scenery painting workshops. The gallery forms the whole length of the street, with the three listed Victorian buildings flanked at either end by new buildings. The ground and upper floors within the five buildings are continuous, allowing them to be used flexibly in many combinations, to accommodate both large and small exhibitions. There are 3 large galleries on each of the two floors, stretching in a line from one end of the building to the other. The two gallery levels are connected by new spiral staircases and a large lift.
Along Newport Street and facing to the railway, the unusual proportions of the Victorian workshops, with their groups of low level windows and high blank walls above, have been continued in the design of the new buildings. The new facades are made with a hard pale red brick that closely matches the surface of the listed buildings. The five buildings next to each other, all different but obviously related, make a sheer and impressive street elevation.
The scheme includes a restaurant and administrative offices for the gallery. The building shows exhibitions of the client’s extensive collection of contemporary art, and is open to the public for free.
In 2003, Japan was plunged into economic darkness, and its people needed a ray of hope. They found one in Haru Urara, a racehorse with a pink Hello Kitty mask and a career-long losing streak.
ESPN 30 for 30 short. Screenings at Sundance Film Festival, SXSW, Aspen Shortsfest, Hot Docs, and more.
WINNER – Best Short Documentary, Hot Docs 2016
Yuka Uchida (Japan)
Director of Photography:
Original Art by:
Sound design by:
The title of this workshop has a double meaning as seeds that offer new research and new experience and as a reference to “Semina” – the avant-garde Pop magazine of the late 1950’s and 60’s. “Semina” was strongly interested in collage, a most crucial stylistic innovation in the arts of the twentieth century that provided this extraordinary magazine with a principle for both aesthetic and existential novelty.
This workshop tries to re-think “Semina” in its key-concepts and re-launch a process of research through a very open idea of collage that relates to our contemporary daily life.
Project : House Vision 2 – Sou Fujimoto Architects Pavilion
Architect : Sou Fujimoto
Location : Tokyo, Japan
Filmed & Edited by : Vincent Hecht
Music : ” Insight XX” – Julien Marchal
Equipments : Canon 5D MkII + 14mm + 24mm TS-E f/3.5 + 50mm f/1.4 + 100mm f/2.8
「House Vision 2」で大東建託と藤本壮介が手がけた「賃貸空間タワー」の動画。
For video licensing inquiries go to to my website:
Seven Eleven by 20syl feat Ibrahim Maalouf
After making a timelapse video of Toronto and one of Paris, both cities that I lived in and really enjoy, I felt there was something missing. With that I thought of New York City. New York is one of my favorite cities. It is such an amazing source of inspiration for urban cityscape photography. I don’t plan to stay in North America forever, and New York is not that far from Toronto, so I decided to take my chance. I wanted to do something unique. Therefore, I decided to do this 4K video of New York City in which I mix aerial footage and timelapse.
Learn more about it on my blog:
Tuesday, March 8, 2016 2:00pm
Introduction by Jeffrey Inaba
Toyo Ito, Toyo Ito & Associates, Architects
Kazuyo Sejima, S A N A A
Sou Fujimoto, Sou Fujimoto Architects
Akihisa Hirata, Akihisa Hirata Architecture Office
Junya Ishigami, Junya Ishigami + Associates
Kenneth Frampton, Ware Professor of Architecture, Columbia GSAPP
Jeffrey Inaba, Adjunct Associate Professor, Columbia GSAPP
Offering a panorama of internationally-acclaimed and up-and-coming architects from Japan, the panel will present past and current projects and discuss shared architectural themes that extend across the three generations of practitioners.
Presented in collaboration with the Department of Architecture and Design, The Museum of Modern Art, New York.
The exhibition A Japanese Constellation: Toyo Ito, SANAA, and Beyond is open March 13- July 4, 2016
Special thanks to Sachi Hoshikawa and Akihisa Hirata for coordination and organization in support of this event.
Rio de Janeiro is one of few global cities that strikes a balance between cosmopolitan hub and natural wonder. As well its openness and unique mix of people, the city has a wide range of galleries, restaurants and world-famous beaches. Our new travel guide, published by Gestalten, will help you discover every pocket of the city. Available now at The Monocle Shop: www.monocle.com/shop/books-and-music/travel-guides/the-monocle-travel-guide-rio-de-janeiro/
Ruutu, which means diamond or square in Finnish, is a collection of 10 vases available in five sizes and seven colours. When collected and combined, they make small seamless installations where both the strength and the delicate nature of the glass come alive.
The fluidity and vibrant feel of the mouth blown glass creates the delicate character for Ruutu.
Ruutu in stores in January 2015.
Director / Camera – Juriaan Booij
Edit – James Cundill
Music – Andy Simmns
Film on location in Iittala, Finland and Paris, France
Monocle invited chef Jonathan Conroy into our Midori House kitchen to cook the prefect summer meal. He demonstrated the art of making a traditional Turkish starter, Mediterranean main course and a quintessential British classic – trifle – on film.