"Overcrowding never looked so attractive. As part of the Tate Modern’s current exhibition, Global Cities, on display in the gallery’s vast Turbine Hall, is a series of intriguing “density models”. The plywood structures were created by a team of designers and architects at the London School Of Economics, led by Professor Richard Burdett. The models are shaped around the outlines of each city, with each layer of plywood representing an extra 200 people per square kilometre. We spoke to the team behind their creation…

“To create the models, we calculated a 3D surface representing residential density in each city and then extracted the contour lines for those with Geographic Information System software,” explains the LSE team’s Bruno Moser. “Those were then processed by modelmakers Pipers, cut and assembled.”

Global Cities addresses the major issues facing today’s cities – size, speed, form, density and diversity. It evolved out of a previous exhibition included in last year’s Architecture Biennale in Venice. The density models first made their appearance there, where styrofoam forms ingeniously represented the populations of 12 of the world’s major urban centres. For the Tate show, only four models were made, representing the populations of Greater London, Cairo, Mexico City and Mumbai, allowing a more sophisticated model to be developed." SOURCE


One plot many verisons: southamerican film

Castelluci: new theater

Themes that go skin deep, bringing instinct as a character and a constant element: more enticing than Barney in my opinion. And my friend the goat with medieval attitude that I have not learnt to resist....Nietzsche has been passed to theater taking Greek tragedy and western Catholicism by the horns.

Romeo Castellucci

Romeo Castellucci has been at the helm of Societas Raffaello Sanzio for twenty years and is an acclaimed director, with a dedicated following in Europe, particularly in France. He was awarded the Grand Prix de la Critique-Paris for the staging of Genesi From the Museum of Sleep, which was first produced in 1999.
“All art is disturbing,” Castellucci has said. Genesi scares me more than the Apocalypse, the terror of sheer possibility, the open sea of every possibility.”

Romeo Castellucci, established the theatre company, Societas Raffaello Sanzio in 1981 with the idea of encompassing all art forms thus creating works completely open to all senses of perception, like in a system of forces.

In twenty years of unceasing iconographical construction, Societas Raffaello Sanzio has given shape to a new expressiveness by creating anew theatrical language and practices deriving from an archetypal universe of discourse (oratory and rhetoric), from the visual arts, science and technology, the world of sound, and science fiction. All this is always combined with a personal approach to religion.

More goodness HERE

happy coke ducumentary


style police

What caught my attention from this campaign is that "informs" people about how carrying a counterfeit item in France is actually illegal. But, who will enforce this law? I can picture some offended French then playing "good citizens" and calling the "style police". Pretty futile if you ask me...How can anybody market massively luxury and deny it to the masses on the basis of "originality"? Is luxury exclusive to a brand perception? or it exclusive to design? is it possible to segregate design from perception of brand? do counterfeit buyers buy the brand of the design? If the value of an object is mostly its price (read brand) why would people only buy from the highest cost seller in a hyper capitalist world....? Status? who's? The few that actually can afford the brand? But if people define themselves by what the own, why can not access a "perceived life" by merely buying the appearance that even fake brands give? Is the"brand promise" owned by one brand?Any discussion around luxury items is deemed to be laughable and nihilist. The business of fake needs for fake existences... Good luck french dudes in enforcing a weak law in the face of the hegemony of luxury fashion. A hierarchical power based in -one hand- on exclusivity -and in the other- alluring the masses


Nouvelle Vague

Kate Blachet as Bob Dylan

the mystique of style heritage

Some say he represents all that it's wrong with Italian style, some other's say he's the best of Italian style. I think he knows how to tailor a persona that fits the perception of many; an international Italian style it is.

"Berlin: Lapo Elkann on The Corner

Godfrey Deeny
July 16th, 2007 @ 00:17 AM - Berlin Though the fashion establishment has greedily embraced Lapo Elkann and fallen in love with his 1,000 Euro carbon shades and haute hipster sense of style, the hipper end of our industry has largely reserved judgment on someone so pre-eminently born with a silver ladle in his mouth.
His luxury project, Italia Independent, garnered an impressive amount of ink and editorial pages; but then again being the prodigal grandson of Gianni Agnelli generates an enormous amount of media momentum.
It was with this in mind that we went along to the German launch of Lapo’s sunglasses in The Corner, the justly famous fashion emporium located on a tony block just off Unter den Linden, Berlin’s Fifth Avenue.
Our all seeing skeptical eye was prepared to be under-impressed until we spotted the Mediterranean blue suit Lapo was wearing, made with super exaggerated gros grain lapels and devilishly well cut silhouette.
Not only was it as good as any suit we’d seen on designer runways in Paris or Milan in the spring 2007 season it also turned out, hang it all, to be designed by Lapo himself.
“It’s from Caraceni and they did exactly as I asked,” explained Lapo, showing off the clever, built-in cummerbund waistband.
“Try it on yourself. See how it feels,” said Elkann as he fitted me into the jacket, whose miniature Italian tricolor crest and hidden flower loop had all the quality and chic one expects from Caraceni, the legendary tailors of Rome favored by so many designers, but rarely so smartly directed.
Hats off to the man. He may be blessed with wealth, dollops of Italian charm and a quirky English that glides like a double scoop of Giolitti ice cream, but this guy has real, and novel, taste.
The suit said more about his ambitions than any pair of eyewear on display in The Corner, the airy and impressive boutique created by Emmanuel de Bayser, a tall Frenchman with a large business card, and Josef Voelk, a German of more Napoleonic stature, with a more moderately sized card.
“We want to edit what’s on the catwalk to give our customers the very best of modern, international fashion and luxury. That’s where Lapo fits in,” explained Voelk, standing close to the famous carbon sunglasses - used last month in a space launch from New Mexico - plus other edgier models in hand-tinted celluloid acetate.
At the risk of upsetting some of our retailer pals in Sao Paulo, New York, London, Paris, Moscow or Milan, we’d have to say that The Corner has, arguably, the best edited choice any major international boutique we have visited.
The only pity was they did not have Lapo’s great suit. Not yet, anyway."


Not to the paranormal existance of power

Will humans develop a sense of existance that does not support the belief of a superior entity that controls all?
A TVseries on Public Television about the very current controversy on freedom of belifs...or dibelief.
ME like!

Lider: the construction of objects

So fashionable yet so strong and cynic. Gender issues with kitch allure.

P.S.1 Contemporary Art Center presents the first U.S. solo exhibition of works by British artist Linder, an active figure in the punk and post punk music scenes. Known for her collaged work�which includes the cover design of the Buzzcocks�s 1977 single Orgasm Addict�Linder has been creating photomontages for the past thirty years that combine imagery from pornography, car enthusiast publications, and other magazines associated with male interests and the objectification of women. This exhibition is on view in the Mini-Kunsthalle from May 19 through September 24, 2007.

Linder features recent and older works, including the "Star" series (2007), in which the artist imposes giant roses and other lush flowers on naked female torsos, and the "Pretty Girl" series (1997), a suite of images in which the heads of black-and-white pinups are replaced by home appliances. Also on view are drawings and photomontages made in the late 1970s, concert flyers she designed for music labels like Factory Records, and other printed ephemera. A video of Linder�s 1982 performance with her band Ludus captures the raw and frantic energy that surrounds her work.

By juxtaposing and overlaying nude figures with oversized flowers, cakes, cameras, and sewing machines, Linder creates striking and graphic compositions. She employs objects generally associated with domesticity to highlight and challenge notions of power, femininity, and consumer culture. Bodies and faces are reconfigured and mechanized with ironic flair in order to dismantle the utopian, technology-driven visions of modernity.

Linder (b. 1954, Liverpool, United Kingdom), whose full name is Linder Sterling, has had numerous solo exhibitions of her work, including The Lives of Women Dreaming at the British Council, Prague (2004); and The Return of Linderland at Cornerhouse, Manchester (2000). Her work has been featured in group shows at the Museum of Contemporary Art, Chicago; Kunstverein Munich; and, most recently, in the exhibition The Secret Public at the Institute of Contemporary Arts, London. She has performed at the 2006 Tate Triennial and at the Barbican, both in London; and at Le Magasin, Grenoble. Linder will have an exhibition at Stuart Shave/Modern Art in fall 2007. She lives and works in Heysham, United Kingdom.

Yoshi Tajima

textural life and death

Brigt Eye's new Video



Off the grid Beasty Boys

Superb sound by the BB.




FFFFOUND! is a web service that not only allows the users to post and share their favorite images found on the web, but also dynamically recommends each user's tastes and interests for an inspirational image-bookmarking experience!!

Victimizing fashion

Video by Roisin Murphy wearing the Gareth Pugh SS07 silver and black chequered jacket: an excercise in how to make fun of fashion and still use its allure to gain value as artist.

The man that made type sexy

Herbert Lubalin.


Lacroix: lighting darkness

In the midst of barroque textures and goth glam he brings color as the redeeming element for sartorial optimism. Lacroix knows of the spiritual in design clashing the values of the given with the unexpected. IMAGES SOURCE Style.com


Chilhood kindnaped by machines!

Beautiful ad for mobile tech.
Tooooo beautiful, almost diabolic.

Lopping Japanese girls

Projector studio gets Uniqlo gig and does an ethernal landing page with a jazzzzyyy feel: pretty cool.

Designer crosses border and becomes tailor superesta'!

Another New York fall fashion week has come and gone, as you well know because you read my online dispatches (statesman.com/style) religiously, and I sure appreciate it. I must say, February would never be my first choice among months to visit New York. I got caught in the blizzard that dumped almost 27 inches of snow on Central Park. In that regard, spring fashion week, which is held in September, is preferable to fall. There was only one show I attended too late to report on last week, and it was perhaps the most fun of all. The line is called Manuel, after Manuel Cuevas, who was once the former lead designer for Nudie's Rodeo Tailor, which was famous for outfitting many country music stars. Cuevas, 73, also takes credit for Elvis Presley's gold lamé suit, the Beatles' Sgt. Pepper uniforms and the Rolling Stones' tongue logo. This was his first runway show, and it featured men and women wearing the most spectacular, embellished Westernwear I've ever seen. The crowd went bonkers for it. St. Thomas Boutique co-owner Riley Estebes de Silva was so enamored that he immediately tracked down the showroom so he could bring the line to all the states.Manuel was born, Manuel Arturo José Cuevas Martinez, on April 23rd, 1938 in Michoacán, Mexico, and was the fifth of eleven children of Esperanza and José Guadalupe Cuevas.
Manuel's was taught to sew at the age of seven, by his older brother and tailor, Adolfo. He has made his own clothes ever since. During this time Manuel mastered a wide scope of the clothier's art, including leather working, hat making, silver working and boot making.
Manuel then attended the University of Guadalajara majoring in psychology before leaving his native Mexico for Los Angeles in the mid 1950s.


My photo
Compilation of aesthetic manifestations beyond compliance, bring us emancipation.