Articles

15 articles, 2016-09-05 06:00

olek wraps two 1 scandinavian homes in hot pink crochet crochet artist olek has covered the façades of two houses in a pink yarn- bombed art installation. in kerava, finland and in avesta, sweden, the artist used her emblematic material to canvas the entire exterior of two homes in woven neon pink fabric. ‘we live in challenging times, a changing world filled with conflict, wars and natural disasters,’ olek said about the artwork’s inspiration, ‘but I like to think that it’s also a world filled with love.’ in collaboration with syrian and ukrainian refugees, olek covered ‘our pink house’ in an intricate lacework featuring ornate floral patterns and geometric motifs. standing as a symbol of a bright future, the two yarn-works wrap the roof, walls, doors and even chimneys of the architectural structures. olek intends the installation to interweave themes of community, home and hope for those without a physical house to call their own.

‘our pink house is about the journey, not just about the artwork itself,’ olek says. ‘it’s about us coming together as a community. it’s about helping each other. in the small swedish community of avesta we proved that we are stronger together, that we can make anything happen together. people from all walks of life came together to make this project possible. someone donated the house, another one fixed the electricity and red heart yarns donated the materials. and of course, most importantly, many women joined us in the effort to make my dream a reality.’ 2016-09-04 20:15 Nina Azzarello

Hundreds of Models Line 2 Up for a Chance to Be in Kanye West’s Fashion Show

If Kanye West builds it, they will come — even if he’s asking would-be models to wait in line on a holiday weekend to try out for his New York Fashion Week show. West, whose Yeezy show is set to take place on Wednesday — details on time and place have been kept mum so far — put out the call on Twitter Saturday afternoon for “multiracial models only” without makeup. The casting is taking place at Jack Studio in New York from 11 a.m. to 5 p.m., and as of 11:15 a.m. upward of 500 models lined up for a chance at their big break.

West, of late, has inspired thousands of people to wait in line. Just last month, thousands of fans queued up around the world to buy from his Pablo pop-up shops.

WWD spoke with several of the women who lined up and what being blessed by Yeezy himself could do for their careers.

Jada Berthoumieux, 16, came with her mother from Teaneck, N. J., with her mother at 9 a.m. She has never modeled before. “It would mean everything [to be in this show],” she said. “I’ve been wanting to model for a really long time now and it’s just exposure. I’m just really excited right now.”

Casey Waller, 18, an actress and part- time model, was drawn in by “The empire of Kanye West ,” she said. “He’s so different from everyone else. I just think this is such an interesting show. I feel like any girl could do it, whether you’re six feet tall size zero, or size four. There’s just an opportunity with him.”

Saima missed West’s open call last season. “I was on a work shift from the Hamptons, that’s why I have all my suitcases with me,” she said. “What brought me here was that the past three seasons have been to-die-for. I tried to come last season, but I came too late, so this is my second try.” 2016-09-04 17:32 Sophia Chabbott

roee magdassi presents 3 edge tables at spoga + gafa in cologne tel-aviv based designer roee magdassi combines aesthetics and function in ‘edge’, a two-table collection for use indoors or out. equipped with a large carrying handle, the same piece folds down to serve as a perimeter edge. magdassi developed ‘edge’ as part of the unique youngstars competition, held at the spoga+gafa gardening trade fair in cologne, france.

‘edge’ is made for mobility, its handle enables easy trips between spaces images © tamuz rachman designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-09-04 16:01 Roee Magdassi

Everything in Its Right 4 Place: Comic Book Panel Blocking 101

It’s time to check back in with our mini- comic masterclass, Strip Panel Naked , hosted by Hass Otsmane- Elhaou. This week’s webisode, shown below, focuses on Marvel's The Vision comic, by Gabriel Walta, Jordie Bellaire and Tom King. “It's a really great character study,” explains Otsmane- Elhaou, “and I wanted to take a look at how Walta frames the scenes and the characters to really showcase that; how King breaks down the beats to emphasize it; and how Bellaire renders the colors to build the emotional understanding of the characters.” The Vision takes place, “in a time when 'The Vision,' a sort-of android from the Marvel universe's Avengers team, wants to settle down. He has aspirations of normal, married, suburban life. So he creates a wife and two children—but it slowly all starts to unravel. It's really a story about how we keep a relationship going when everything appears to be falling apart. It's honestly masterful, incredible work all around.”

This week’s Strip Panel Naked breaks down the blocking in this masterful panel. Panel selection from The Vision by Gabriel Walta, Jordie Bellaire and Tom King. Screencap via

So, what can good scene blocking and panel positioning do for a comic? As Otsmane-Elhaou explains with The Vision , it can create total cohesion. “Every part of this comic is working at such a high level, it all keeps bouncing off each other. But what Walta does so well in the comic is how characters are positioned and placed—he uses the locations and settings and lighting to help visually showcase a character's emotional state. Maybe he'll put a character in shade and one in light, or he'll place characters in the foreground or background to emphasize relationships.”

Watch the video on blocking a scene below:

To see more, visit the Strip Panel Naked YouTube page , and check out its Patreon page to support to the series.

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Meet the Artist Turning 5 Used Cigarettes and Crack Vials into Art

Images courtesy of the artist

When I meet Brooklyn artist Tyrrell Winston at his studio, near the corner of Broadway and Myrtle in Bushwick, New York feels muggy, damp, and suffocating. Trash reeks, garbage water pools next to the metal- edged curbs, and every piece of grime floating in the air clings to clothing and skin, leaving behind the filmy feeling of filth. This is not condo Brooklyn, artisanal Brooklyn, or fun Brooklyn: earlier this summer it was this same block where 33 people were rushed to the hospital , suspected of overdosing on the synthetic drug K2.

This is where Winston creates his color- coded multimedia pieces, which often read like mood boards of sleaze, employing drug paraphernalia, discarded cigarette butts, empty bottles of booze, and broken lighters, to tell stories. In fact, as you drill down, you find subplots and surprises in Winston’s work, which often seems almost beautiful in its simplicity, before you realize you’re staring at a candy- colored bowl of plastics previously held by hard drug users. “I’ve been collecting drug bags and dice for about five years, with no real intention behind it,” he says, pointing to different corners of his studio. “I started picking up colored trash and making little assemblages.”

Winston’s art is deceptively simple and cohesive, something that seems to have just clicked for him. He mentions to me that he felt his earlier attempts at collage were missing something. More than just grouping discarded items together by color or repurposing them in a new context, Winston’s work is urban archaeology, with each item being very personal. He picks up these items in the streets, sans gloves, and rarely alters them. Some of his pieces have an actual scent—stale and fetid. Even the thousands of lipstick covered cigarette butts mounted behind a glass case bring to mind a smell and mood, even though they are presented so uniformly sterile.

“Each one of those cigarettes has a story—a conversation someone had, a thought. Something that really happened to a person,” he says. “They’re fucking vile, but they’re also the ultimate sex symbol. When I was a kid, I always thought my friend’s moms who smoked were so bad ass. They’re weirdly misogynistic, but at the same time, I feel like they’re very feminine.”

Once you start looking, you know where to find things, and grouping them becomes logical. Winston tells a story with each piece, as the objects he employs share a theme of being used and discarded, but oddly coveted. Even as he explains that the basketballs he finds are never doctored up, simply shown as they’re found, you’re transported to a court somewhere in New York City, maybe to a bustling game, or beside one person shooting threes alone on an overcast day. Things happen uniquely in the spaces Winston pulls from.

“Crack vials are still all over the place around the Marcy Projects. There’s big art studio, Wrythe Studio on 544 Park, and there’s just crack vials everywhere. If I go early on a Friday, Saturday, or Sunday morning, I can find cigarettes in Lower Manhattan, in front of bars before they clean up—I’ll get a few hundred.”

Before joking about his hometown, he mentions that his work takes a different tone when working in other cities: “You’re not going to find a proliferation of crack vials in the gutter in Irvine, California.” We continue to tour around the rooms at his studio, each one bearing a different theme or style of work. Our last stop is a small square space, where printed signs bearing the images of Michael Jordan and Justin Bieber with phone numbers beneath them, lay against the walls, inspired by the unauthorized signage you see around nail salons, barbershops, and massage parlors in Chinatown. The pseudo-ads he posts around Lower Manhattan bear actual working numbers. Some drive you to the NRA hotline or Donald Trump’s campaign office, but the best of these are “fake” drug dealer numbers Winston sets up, where you’re prompted to leave a message, providing him new audio material to pull from for future work.

“They’re an ode to our fetishization of celebrity culture, mixed with the time I spend wandering the street,” he says. “There’s something discomforting about them. I want people to be slightly hesitant when they call.”

Winston’s work is a reminder that New York City still has plenty of boils and warts, and how quickly they vanish. He mentions how some of those 33 people who overdosed were sprawled out in front of his studio, making it difficult to even open the door, before noting that he hasn’t seen any of them since— they’re just gone. Eventually, he won’t be able to make these specific pieces by mining the streets of Bushwick, Lower Manhattan, or Bed-Stuy. There will be new trash, with less personality and more privilege—ATM receipts with plenty of zeros, cups that held $5 cold brews, or maybe no trash at all.

For now, Winston’s happy with the rhythm he’s striking in his work, and the entire process of gathering pieces, then sharing them via parties and smaller, intimate openings.

“Maybe it’s a lofty goal,” he says “but I hope this work can hit white ignorance square in the mouth.”

To learn more about the artist, click here .

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Installation Portrays Energy 6 Flow as Physical Architecture

Images by Federico Sutera and Orproject

This article was originally published on June 3, 2014 but we think it still rocks!

How do you imagine life energy, the soul, or even the force? Can this abstract (and feasibly ineffable) concept be translated into a physical art structure, let alone be articulated to a global audience with varying understandings of such a broad idea? Architecture and design firm Orproject is attempting to achieve such a feat with its installation Dynamorph , a tangible representation of "Urja," the force and energy which Nepalese shamans attempt to control and master through their practices.

Dynamorph is an architectural isosurface—a three-dimensional iteration of concept values such as pressure, temperature, velocity, and density, which allows scientists to study features of a fluid flow like gas or liquid. Or, in this case, life energy. Underneath the womb-like pavilion includes a series of Nepalese shamanic artifacts that have been designed to visualize Urja, as well.

Though the cover looks like a mystical cave one would encounter on a crystalline planet of another dimension, Orproject explains, "The branching and flowing geometry of Dynamorph evokes the symbolism of roots, trunks, and branches that form the three worlds of shamanism. " This doesn't surprise us, as Orproject once created an architecture piece that mimicked a tree's quest for light.

The installation firm developed the structure's form using an algorithm that places the artifacts as centers of a gravitational force-field acting on the surface of the room. Thus, the pink and white geometric ceiling often dips and twists towards the art objects, not unlike tree roots reaching towards a water source.

Orproject adds that "The tessellated geometry resembles mass and movements found in nature similar to the trajectory of planetary mass under the influence of stars and black holes. " Whether it's actually visually indicative of such phenomena, there's undeniably something cosmic going on with Dynamorph. See some photos of the work below:

For more information on Orproject and Dynamorph, visit their website here.

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Lose Yourself In Deja Vu in 7 this Audio-Visual Performance

This article was originally published on May 30, 2014 but we think it still rocks!

RFID —a UK-based collective of artists specializing in immersive audiovisual productions, made up of William Young, Benjamin Gannaway and Jake Williams —took over the 60-foot-tall Satosphere dome at the Society for Arts and Technology (SAT) to present Fragments, a live audiovisual performance made specifically for the 360° environment.

Immersed inside an impressive A/V journey that is at once destabilizing and explosive, the audience can explore an experimental universe questioning the relationship between man and memory. The abstract visualizations, inspired by a series of audio interviews, gives life to a cerebral and non-linear narrative piece where the few figurative elements present are barely recognizable. Watching the performance is like trying to recall a dream just after waking—or attempting to illustrate the of deja vu. The viewers bear witness to the structuring/restructuring of a piece generated by the dynamic clash between virtual, geometrical, and dynamic visual elements.

The dream-like dome offers attendees the chance to step inside an abstract representation of the human mind. See some photos of Fragments in action below, as well as video on the project: Images courtesy of Sébastien ROY

To learn more about RFID click here.

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Turning Spilled Nail Polish 8 Into Psychedelic, Exploding Forms This article was originally published on June 2, 2014 but we think it still rocks!

Paris-based artist and designer Mathieu Missiaen is the master of the visual paradox. As the art director and founder of Cinq Fruits , the studio fuses fashion, design, contemporary art and design into something greater than the sum of its parts. No strangers to set design, Cinq is known for its clever combination of art direction, photography, sculpture, and installation. With a knack for tweaking product photography into vibrant, surreal still life photographs, the upcoming show poses the question: “Is that real?”

Surprisingly, the answer is often, yes. When asked to demystify the process of his still photo work, Missiaen doesn’t hesitate to explain. “Our goal and main inspiration is the CGI picture, the molecular picture, the scientific picture,” he says from his studio. He notes that there’s rarely any post-production, no CGI, and rarely any use of Photoshop in his photographs—a shock that makes us do a double take when seeing the work.

“We will never use a 3D printer, but implement all our skills to have [a similar] render,” he said. “We love the mistakes that a human can bring— technology can make mistakes too—but we love to mix the two, and then people really think about the process.”

We can see that his laser lizards look like they’re sitting on either a mirror or a scanner. But we could be wrong. Missiaen did an editorial for Novembre Magazine using American Apparel nail polish for a partnership project. They used hydrogel , a liquid gel material that can miraculously contain varnish. “It was a great experiment,” says Missiaen. They look like psychedelic, exploding fortune-telling balls. There are drops and splashes of nail polish mixing into other colors, forming bubbles, shapes and hints of recognizable objects (like condoms, for example). "We don’t really have limits,” he says.

Technology is used in the process, like creating objects with modeling programs and then building them in real life. But even when these objects get built with a computer and then get photographed, we still have a million questions about how these visual mind- melts look so real without the use of any post-production.

Some favorites include the squishy, transparent gel, which shines on a gradient blue-purple background. There's also an iridescent silver grill on a set of dentures, and a fire detector alarm on a turquoise background, calling to mind a retro instruction manual from the 80s. In another picture, gold powder sits in a blue beaker, while a woman’s finger sticks her finger in pink gel in another like a mock 50s food advertisement. A plant stuck in a sports bottle calls to mind Duchamp. Others feel like cousins of something you'd find in Toilet Paper Magazine.

Missiaen is designing a bar called l’Isolé in the Pigalle district of Paris. It will include glass furniture and ceramics, alongside a set of special dishes. “We always try to make people think twice about the subject or the technique,” he said. Whether it's special dishes or globs of nail polish that look extraterrestrial, this studio is making us think more times than we can count.

To learn more about the artist click here .

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Revisit the Art of 90s 9 London Rave Culture with the Underworlds

All images courtesy of Tomato

This article was originally published on November 21, 2014 but we think it still rocks!

As a visual and sonic document of London's early 90s rave culture and artistic ferment, Underworld 's remains matchless. In fusing punk and other artistic and musical forms, Underworld unwittingly lit the way to the multimedia future of music in the internet age.

When Underworld's and reissued Dubnobasswithmyheadman , it didn't come as too much of a surprise. Underworld and Tomato —the art and design collective formed by Hyde, Smith, John Warwicker, Simon Taylor, and others—also threw in new artwork for the five-disc super deluxe edition, including a 50-page large format enhancement of the original's album booklet.

Images from the Dubnobasswithmyheadman album booklet

Looking back at early 90s, Tomato's communal artistic approach empowered Underworld to handle creative tasks that are now quite commonplace for musicians in the internet age: art, graphic design, music production, live projections, videos, a personal record label (Tomato Records), and so on.

As Hyde told The Creators Project, the 12 or so members who founded Tomato came together in the anything-goes London Soho of the time. Dance clubs and club nights were popping up left and right, as were pirate radio stations illegally broadcasting rave music to masses in the throes of chemical rapture.

“I grew up with pirate radio stations that played the best music from America,” Hyde said. “I was hearing this fantastic music that was from my youth, early German music like Kraftwerk, Tangerine Dream, Neu!, and Can re- processed by these London kids making illegal broadcasts from their apartment blocks.” Tomato's ranks were filled with musicians, artists, graphic designers, filmmakers, and even business people. As Hyde said, everyone had a profound influence on one another.

Left to right: Underworld's Karl Hyde, , and Rick Smith.

For the album sleeve, Warwicker assumed the role of “mixmaster” in a process that was both technologically analog and digital. One of Tomato's favorite tools at the time was a fax machine. These old Canon machines no longer accepted faxes, but if they were fed a message with an image to copy with Warwicker holding the sheet of paper back, the machine would start to draw lines and stretch words.

“Guys were making these huge, long artworks made out of fax elements,” added Hyde. “It was like subverting technology at the time, which was what was going on in the studio with Underworld, too.”

Tomato members would also place big sheets of paper on the floor, according to Hyde, and then “jam on top of it, making marks, handprints, and splashes and then cut it up and scan it into the Macs.” The collective would incorporate Hyde's impressionistic text, which he was creating on a typewriter.

“It was a very physical process in those days at Tomato,” said Hyde. “The computer was just a way of tying it together. This [method] expanded into images that became part of the advertising culture of the 90s that Tomato was part of creating.”

Karl Hyde in New York City.

While Tomato's process was technological subversion, their artistic touchstones were more historical. At the time, computer-generated art was de rigueur, but Hyde was and still is inspired by New York-style abstract expressionism, especially Franz Klein's black and white paintings , where canvases were large and dynamic. For him, that sort of immensity equated to dance music.

“It was movement rendered in paint, which is a form of music,” Hyde said. “Dance music is about physicality, about exuberance. I said, 'Let's make art that reflects that.'”

Tomato and Underworld undoubtedly succeeded on that front. The album sleeve and booklet swirl and dance with amorphous black and white shapes, textures, and Hyde's impressionistic urban poetry. Hyde and Warwicker might downplay Dubnobasswithmyheadman 's impact on dance music artwork, but it brought a nice dose of futurism to the culture and times.

Original handwritten lyrics courtesy of Karl Hyde.

Click here to visit Underworld's website.

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The Designer Behind the 10 Android Logo Has a Raunchy Sense of Humor

All images courtesy the artist

A smartphone display mimicking the look of a stock ticker is, in reality, a sailor- mouthed ribbon of reactions to the tumultuous nature of the markets. Helpful rhymes splashed across condom wrappers remind guys to practice safety. A series of pastel charts depict the blunt reality of working from home (very minimal amount of working, substantial amount of eating).

This is the work of Irina Blok , a San Francisco-based designer who delights in her profession as much as she does flexing her design muscles away from the office. Blok, a native of Russia, who moved to the US at age 18, uses her downtime to do what she likes best: design logos and graphics with her own tongue-and-cheek humor. She designates these projects to a simple category on her website: fun.

The Silicon Valley designer summons her creative juices on and off clock, despite working as a creative director at a tech company. Her website details the fact that she has previously worked with any big names in the technology industry, including Google, Adobe, and Apple. Blok is, in fact, best known for designing the Google Android logo— that eponymous green robot —which is an originator of the open source logo format. You can check out more of her creations below:

To see more from Irina Blok, including her commercial work and original jewelry line, “ I Love Blocks ”, visit here.

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How to Play with Your 11 Food (On a Computer) and Do It Well

Image courtesy the artist

Coupling the mouthwatering look of high- quality food photography with the annotated images of elite fashion magazines, the nature of the tart-yet-sticky sweet Instagram, @popmyeyes , is Pop art at its brightest.

At just under 100 posts, the Instagram is currently in its infancy, but the carefully-curated and tonally consistent pics increase the likelihood that the account will soon find its place on the internet's unofficial leaderboard. With a subtly wicked attitude amidst all the blinding colors, the account varies in its choice of artists. The striking photo page is a personal board of bright, Pop-influenced images that vary between ostentatious euphoria and optical mind-benders.

Pop My Eyes has highlighted the work of Instagram heavy-hitter and animator Zolloc, who most recently caught our eye with his hirsute humanoids .

The Creators Project spoke to the creator of the account to see what inspired him to begin the project and how he goes about forming his original creations:

“I started Pop My Eyes with the intention of creating a gallery full of eye-popping art, design and awesome shit," the they explain. "The internet and instagram itself are full of artists that create incredible work and I wanted to turn Pop My Eyes into a gallery where they all come together and give visitors a truly eye-popping visual experience.” “While the Pop My Eyes curation features a variety of art ranging from photography, photo manipulations, collages and sculpture, etc.—my own work is all fully based on digital photo manipulations. I grew up as part of the Myspace generation and really early discovered my love for Photoshop which I have followed through with from high school and [university] to my current job, as a creative. "

They continue, “Sometimes I try to create images based on topics people can relate to and exaggerate them... other times I simply create random images of the visuals that come to my mind and make people go like ‘WTF!’ I create my own art by combining multiple stock images to make abstract, absurd or comical visuals, always with the same aim as the curation: making your eyes pop!”

Pop My Eyes' Instagram is a true source for inspiration if you’re into a little abstraction, a little optical illusion, and truly dexterous Photoshop skills. Check out some of our favorite 'grams below: To follow POP MY EYES, head over to the growing Instagram page, here , and his Ello page, here.

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[Premiere] Morphing 12 Bodies Throb and Flicker in a Dystopian Music Video

Images courtesy the artists

The times, it seems, have caught up with Philip K. Dick's - paranoia, as the collaborative music video between media artist Kurt D’Haeseleer and electronic artist Franck Vigroux, for the latter's track, “Simulacres,” makes clear. The video, inspired in part by PKD’s novel The Simulacra , in which a political leader is an android (simulacra), grew out of the pair’s live audiovisual project, Centaure.

In “Simulacres,” the Werktank founder D’Haeseleer creates a disorienting stream of flickering images that alternately synchronize with and stray from Vigroux’s pulsating industrial rhythms. D’Haeseleer pairs manipulated black-and-white images that look on the verge of disintegration with colorful images of faces warping and mutating in hideous fashion.

“I started quite literally from the concept of a centaur—I consider the centaur a corporeal mutation,” D’Haeseleer tells The Creators Project. “For me it’s about how technology shapes our body and vision of the world... I don’t want to show literally what technology does with us, it’s more an hypothesis. I manipulate images and especially images of bodies.”

“I do a lot morphing, scaling, texturing, compositing, and mostly everything together at the same time,” he explains. “I work with extreme manipulations and force images to react to the parameters of other images. With this approach, I can only partly foresee how the image will appear. The result is a process that strongly resembles developing analog photographs, where it is always a surprise to see the result, or even alchemy, but that in fact is entirely digital.”

As Vigroux explains to The Creators Project, “Simulacres” is something of a sonic and visual climax of Centaure, which he describes as “a pretty intense performance—very physical but also with a lot of nuances and colors from atmospheric to noise.” The results are, like the technology we use, at once entrancing but repulsive. simulacres from Werktank on Vimeo .

Click here to see more work by Kurt D’Haeseleer, and here to listen to Franck Vigroux’s new album Rapport sur le désordre , which features “Simulacres”.

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napp studio's mutant yard 13 development reorganises beijing's hutong lifestyle napp studio’s ‘mutant yard’ proposal introduces an organic and flexible architectural system based on beijing’s hutong lifestyle. hutongs are a type of narrow streets or alleys found predominantly in beijing, which are formed in lines of siheyuan, traditional courtyard residences. the firm has proposed a scheme which would incorporate this traditional structure with the surrounding neighbourhood and various programmatic situations. napp studio has proposed a contemporary version of the siheyuan structure, which is able to sit within a tiny (33 sq.m) plot, housed within a single central courtyard. this feature opens out onto the street, encouraging interaction between neighbours and visitors. the building is not a replica of the traditional grey-brick pitched roof, but a rennovation which preserves traces of historic details, injecting new energy into the old urban fabric. designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-09-04 11:30 Aron Tsang

Driving a Bikable Work Station from Barrio to 14 Barrio, Amor Muñoz Creates Jobs In Mexico City

All Photos Courtesy of Amor Munoz

This article was originally published on June 10, 2014 but we think it still rocks!

In Mexico, where the minimum wage averages less than $5 a day , being visited by Amor Muñoz and her giant white bike-trailer is like winning a small lottery. Rolling into the working class barrios in places like Mexico City and Campeche, Muñoz flips its panels and doors, opens up a shelved work station, and hires members of the crowd at an undeniable hourly rate. By the end of the day, once the commissioned work has been done, she packs it all up and moves onto the next destination.

As ephemeral as it seems, it’s actually part of a long-term project called Maquila Region 4 (MA4) , which Muñoz started in 2012. Inspired by the operations of Mexican-American border town factories, known as maquilas, this “performative intervention” gives residents in marginalized areas of Mexican cities the chance to work for $7.50 an hour.

The work involved is an extension of Muñoz’s ongoing fascination with blending electronic and artisanal technologies. If you’re lucky enough to get contracted by a visiting MA4 unit (you literally have to sign a contract), you’re then assigned to a unique project: sewing conductive thread into cloth, to create fully functioning, textile- based circuit panels.

The socioeconomic disparities probed by this project makes it one of the finest examples of art-for-social change. And it’s only one in a line of Muñoz’s experiments that aim to shatter the class-oriented divide between traditional Mexican crafts like embroidering and sewing, and costly electronic technologies.

How functional can an electronic textile actually be? Pretty functional, it turns out. Take a look at Esquemáticos (2011) , one of Muñoz’s projects that prefaced MA4. It’s a series of five different sound-generating electronic textiles, each of which were hand sewn based off Munoz’s schematic drawings (hence the name).

One piece, for example, emits the sound of a siren and radiates with patches of color when you take a drink of alcohol and blow into its attached breathalyzer. Another oscillates a high- pitched radio frequency while you draw on a piece of paper that’s rigged up to its circuits. See both, along with another three cloth devices, in the video below:

Keep updated with Muñoz over at her website. There, she’s already been posting snippets of information about her next project. Photovoltaic panels appear sewn into fabrics, essentially creating super portable generators. If you’ve got sunlight and access to lighting infrastructure— yet can’t afford monthly electricity bills (or are simply in a village that’s off the grid)— this could present a means to self-sustainability. It’s called Yuca-Tech, and it has its own blog here.

If it’s as effective in its power generation as it is at being socially aware, it’s just another contribution Muñoz has made to bringing modern world to those without access to it.

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magnus kaminiarz & cie 15 plans germany's tallest residences magnus kaminiarz & cie has revealed plans for the ‘grand tower’, germany’s tallest residential skyscraper. located in central frankfurt, the high-rise climbs to a total height of 172 meters, comprising over 400 high-end residences. previously referred to as ‘tower 2′, the scheme’s architecture will also include space for two retail outlets at ground level as well as a lobby with concierge service for the building’s residents. comprising 44,000 square metres, magnus kaminiarz & cie’s design seeks to create a new urban landmark for the city of frankfurt, replacing the colonia- haus in cologne — built in 1973 — as germany’s tallest residential structure. the building’s façade, which offers privacy as well as wind and sun protection, lends the project a distinctive appearance. with a diamond- shaped floor plan, 401 condominiums will be spread across 48 storeys in frankfurt’s europaviertel quarter. each unit is directly connected to external space by way of a loggia or spacious terrace, providing outdoor areas for all residences. internally, bathrooms, shower rooms, guest toilets and utility rooms are oriented along the wall facing the central core. this layout ensures maximum daylight and ventilation for the primary living areas and bedrooms positioned along the perimeter. completion of the ‘grand tower’ is planned for the middle of 2019 on the 7th floor, the tower offers a common area for all residents with access to a communal green roof on top of the building’s car park. on the 43rd storey, a sun deck remains accessible for all occupants. recessed balcony elements are arranged in front of the glazed outer shell in order to create passive sun protection for all apartments. a series of ‘tubes’ encircle the entire glazed façade, maintaining privacy and offering protection from the wind and sun. with construction already underway, completion of the ‘grand tower’ is planned for the middle of 2019. name: grand tower location: europaviertel, frankfurt am main usage: residential number of units: 401 number of parking spaces: 421 building height: 172 meters start of construction: february 2016 planned completion: middle of 2019

GFA (without car park): 44,000 sqm 2016-09-04 06:14 Philip Stevens Total 15 articles. Generated at 2016-09-05 06:00