Michèle & John, 39 King’s Road - Londres
TABLE OF C EDITOR’S LETTER ARTIST DUO
6
4
ELMGREEN AND DRAGSET
6
ARCHITECTURE
13
BIOTOPE 14 Reiulf Ramstad Architects Snøhetta 20
PHOTOGRAPHY 22 LINA SCHEYNIUS PAUL JUNG 28
23
DESIGNER 32 NEIL BARRETT 32 PHILLIP LIM 36 CECILIE BAHNSEN AUDE CASTÉJA 46
40
18
CONTENT INTERIOR DESIGN STUDIO MILLS 50 RÄS STUDIO 52 HASA ARCHITECTS PROJECT PRAGA 57 MNMA STUDIO 60
SPOTS 64
55
Proti Proudu Bistro ORANG+UTAN CAFE 1or2 cafe 72
65 68
IDEAS FOR...
76
back to black 77 unique piece 78 boho 79 dark 80 rustic 81 white 82 country 83
REFERENCES 84
48
f EDITOR’S LETTER
EDITOR’S LETTER
4
undamental, essential, minimalistic, three similar words used for described each content of this special issue of February. Milk wants to highlight the importance of ABSENCE, the non-existence or lack of. Going through the pages you will experiment the feeling of absence regarding colors, structures, patters or even light. This issue becomes an ode to culture, to all those artists who really show to the world that they can reach your attention with less. Because it has already been said by the big designer Coco Chanel: “Less is More”. Taking a look into the content you will find a huge variety of artists going through sculptors, architectures, photographers, designers till interior designers, all sharing the same idea of minimal, but also sharing talent. Scandinavian culture will be very present in this issue as some of the artist you will find share the same culture of uniqueness through simplicity and functionality. We want you to experience the freedom and calm valuing the importance of lack. Because with these issue you will understand that ABSENCE does not have any form, it is unspoken, simple, varied but most important unique.
Marina Velasco
ARTIST DUO
Artist: - A person engaged in an activity related to creating art, practicing the arts, or demonstrating an art. The common usage in both everyday speech and academic discourse is a practitioner in the visual arts only.-
ARTIST DUO
ARTIST DUO
6
ELMGREEN AND DRAGSET “Our pieces are very communicative,”. “We are also in a dialogue with the audience. There are no artistic collaborations or artist groups that make introverted work. That’s not possible, because you already have each other, and you need to understand each other.” “The audience is a playmate as well.” Elmgreen & Dragset, who respectively began their careers in poetry and theater before moving into visual art, chose to define themselves as “no logo” artists, taking pride in their ability to shift aesthetics, styles, and mediums, according to what best serves their ideas. Their best-known projects posit themes critical of the status quo with staged, hyperreal interventions that employ sculpture, performance, and architecture. Walking into many of their elaborate installations is like happening upon a dystopian film set or entering into an uncanny novel. Waiting rooms, hospitals, bathhouses, public housing, and collectors’ homes are but a few of the
artificial settings they’ve built. In each of these common environments, recurring triggers— like a looming vulture, broken stairwells, dead bodies floating in pools, a marble Adonis with an IV drip, or a lone, lifelike child cowering in a corner—signal that something has gone awry. These large-scale works require complex preparations and production feats—processes bolstered by the partnership between the two artists. Dialogue is not only essential to their creative process, but also inherent to their works conceptually.
7
ARTIST DUO
Often your audience will create and elaborate on the artworks in a much more interesting way than you ever could do yourself - they make it wilder, more romantic, sentimental or perverse than your intentions were to start with’ - Michael Elmgreen
VAN GOGH’S EAR
ELMGREEN AND DRAGSET
It is a piece about the memory of Van Gogh.“It’s not an exact proportion to his ear, but it resembles an ear.” “We have an ongoing fetish with swimming pools,” said Elmgreen.
ARTIST DUO
8
DONATION BOX
The donation box illustrates well Elmgreen & Dragset’s tendency to use materials that comprise the world of art, combine them into a passive-aggressive relationship with the viewer, and present the economic situation as existential. If Donation Box conjures up the Poubelles (trash bins) of Arman—the French New Realism artist who collected the contents of trash cans in Plexiglas boxes—then these works of him from the 1960s immediately elucidate the difference
R
f Van on to “We wim-
9
ARTIST DUO
PRADA MARFA
Prada Marfa is a site specific, permanent land art project by artists Elmgreen & Dragset. From a distance the artwork appears ot be a large minimalist sculpture. As one gets closer the building resembles a Prada boutique where a display of Fall 2005 high-heel Prada shoes and bags can be seen through the store front windows. However, the sculpture will never function as a place of commerce, the door cannot be opened. The work is located on the outskirts of Valentine, Texas near Marfa on desolate ranching land with no other visible trace of civilization.
1
“For us it’s interesting to do this in a non-commercial art space”
1) Powerless structures, Fig.122 signed with the artist’s initials on the reverse wood, paint, steel chain, door handles and hinges each door: 217.5 by 104.5 by 8cm.; 85 5/8 by 41 1/8 by 3 1/8 in. Executed in 2000.
ARTIST DUO
10
2) Modern Moses
2
Modern Moses, a wax sculpture of a baby in a stroller basket beneath an ATM, the show immediately suggests a theme of abandonment. Further, in both its name and its subject matter, the work draws a connection between contemporary society and absence. 3) and 4) Self-Portraits The show features a new series of works that are representations of museum wall labels of other artists’ works, including David Hockney, Ross Bleckner, Roni Horn, Martin Kippenberger, and Nicole Eisenmann, among others
3
11
ARTIST DUO
4
MINIMALIST
- The art or practice of designing and constructing buildings. -
ARCHITECTURE
ARCHITECTURE
Minimalism is a tool that can assist you in finding freedom. Freedom from fear. Freedom from worry. Freedom from guilt.Freedom from the trappings of the consumer culture we’ve built our lives around. Real freedom.
ARCHITECTURE
BIOTOPE
14
Biotope is the worlds first and only architectural office with special expertise on birds and birdwatching.
15 ARCHITECTURE
WE ENGAGE IN PRO NATURE PROJECTS We design birdhides, shelters, nature trails, outdoor amphitheaters and much more. We make destination development studies, exhibitions and arrange workshops. We develop new concepts for experiencing nature and wildlife.
__ It may be very cold, but the open shelters Biotope designs at least afford some protection from the icy winds of north Norway. Superb view: The shelter is perched above the Kongsfjord like a piece of black wood.
ARCHITECTURE
16
17 ARCHITECTURE
“We develop our hides and shelters based on the character of the location, sight lines and wind direction” “Architecture is a tool to protect and promote birds, wildlife and nature”
Reiulf Ramstad Architects
ARCHITECTURE
18
19 ARCHITECTURE
Reiulf Ramstad Architects (RRA) is an independent Oslo-based architectural firm with a high level of expert knowledge and a distinct ideology. The firm has a strong conceptual approach combined with experience from past accomplished projects. As architects and designers They are fortunate to experience the overall process, from the first conceptual phase to the
completion of high quality projects. THEY are eager to find pragmatic solutions with users as well as technical consultants, at the same time we are passionate to make sure that the original concept is carried through in the end result.
Snøhetta
ARCHITECTURE
20
Snøhetta began as a collaborative architectural and landscape workshop, and has remained true to its trans-disciplinary way of thinking since its inception.
Our work strives to enhance our sense of place, identity and relationship to others and the physical spaces we inhabit, whether feral or human-made. Museums, markets, reindeer observatories, landscapes and dollhouses get the same care and attention to purpose.
21
ARCHITECTURE
PHOTOGRAPHY
PHOTOGRAPHY
22
Daily scenes, travels and most of all intimate scenes of friends and lovers, portraying her life with a casualness and honesty that is both touching and beautiful.
INTIMACY WITH LINA SCHEYNIUS
Lina Scheynius’ photography has found its way via the internet into the fashion world and from there into the art world. Most of her followers are young women. Scheynius appears to have opened up a way for them to see themselves. This shy individual, of all people, has disclosed herself to the world by sharing her innermost self – the outer self – with the world
PHOTOGRAPHY
THE PROMISE OF ANALOG
23
__ Scheynius started out by uploading her pictures to Flickr six years ago when she was working as a model. “A lot of the pictures I took while I was modelling were the way I wanted to be photographed, rather than how they photographed me,� Swedish photographer finds beauty in the simplest and most unexpected moments.
PHOTOGRAPHY
24
Living between London and Paris she has worked in several fashion editorials for several publications and for some brands such as Chanel.
25 PHOTOGRAPHY
__ Scheynius’s photos were gaining a huge amount of attention online, and before she knew it, she was beginning a new career as a photographer. “I get ideas while walking in big cities or forests listening to good music.”
Why did you decide to stop modeling and start taking photos? Was it emancipating to photograph yourself and decide how you want to look rather than have other people define how you should look? It was! I was really tired of the glamour and, at first, I got inspired by the fashion work of Juergen Teller and Corinne Day. I didn’t really know any art photographers at the time, and my references came from fashion magazines. But then I started hanging out in the photography section in bookshops and got even less interested in fashion photography. I fell in love with Japanese photography. It was actually quite a slow process moving from one side of the lens to the other. For many years, I just did it on my own and only showed the results to a handful of friends, and then one day, I had the courage to join Flickr and then there was no going back.
PHOTOGRAPHY
26
Why, in 2008, did you decide that you wanted to publish a book a year? I had been in touch with a book publisher, but it was slow and nothing came out of it, so I decided to try to do it on my own. I already had a bit of a following online so I thought there might be a market for the book. I didn’t know I would make as many as I have when I started. I guess I dreamt of it since I called it 01, but I can’t quite remember. You’ve said that you started keeping a written journal as a child, because it was an outlet for your shyness. Do you take photographs, and publish them in books, for the same reason? It’s so hard for me to say why I take photographs. A simple answer is that I do it because I love and enjoy it. But sometimes, it’s really painful, and then that explanation doesn’t hold up. How is it painful? It’s painful in the sense that I set up really high expectations on the results, at times, and can’t live up to them. Do you still keep a written diary? Can you read the last sentence of your last entry? I do… And here you go, “Thinking about buying a sofa.” Not that interesting today I am afraid.
Have you always felt comfortable with your body? Or was that something you developed over time? I don’t know if I ever felt comfortable with it. It’s definitely getting better and better as time goes by, but aging kind of scares me. I think aging would be less scary if we saw more images of older women celebrating themselves. Don’t you think it will be great if all these young photographers, like you, continue sharing self-portraits as they age? I think it’s so important, and could have such an impact… I do intend to keep photographing myself and keep sharing. I think that would be great. It’s not really me looking older that’s the scariest bit, though, it’s the health slowly decaying—even now, I can’t keep the same pace I could in my 20s, jet lag hits me harder, etcetera. How would you describe the mood of 09? It’s the happiest book I made in a while. Very colorful; makes me smile. What do you think when you look back at 01? How have you evolved as an artist, and as a woman, since then? I like it. I like the sense of play in it. There is only one book that I made that I don’t like, but I won’t say which one. And even that one is special to me in a way and has its place in the series. It’s hard for me to say how I have evolved, but I have probably grown up. In some ways, I think photography matters less to me now than it did then. I got very obsessed for a while.
27
PHOTOGRAPHY
PAUL JUNG
PHOTOGRAPHY
28
29 PHOTOGRAPHY
After graduating from the school of Visual Arts, taiwanese fashion photographer and art director Paul Jung received more and more attention in the fashion industry over the last years. Based in New York City, his singular polished style spreads across his fashion photography and music video direction. Analysing his work, sharp lines, minimalist textures and bold colors
are the most notable components. His style of fashion photography is minimal and pared back, where the drape and silhouette of fabrics are the focus more than an intricate narrative. The monochromatic palette extends this, allowing the shapes of overlapping limbs to work with the clothes rather than interrupt them.
PHOTOGRAPHY 30
31 PHOTOGRAPHY
__ August 16, 2017 I drove out west. Meaning, in search of me. All the while, the earthly bodies aligned themselves with the heavenly bodies.
DESIGNER
NEIL BARRETT DESIGNER
32
“Drake is one of my heroes. That mixture of urban music goes with that urban style. My design philosophy is mixing tailoring with sport, with more street culture.” “I really like contrasts. Mixing two things together is a hybrid for me; it’s my ideal method of designing, and I’ve always designed like that for the last 20 years.” With a grandfather and great grandfather both being master tailors, an early interest in fashion and tailoring were instrumental in Neil Barrett’s interest in fashion. After graduating from Central Saint Martin’s School of Art and Design, Barrett moved onto the Royal College of Art to study for his Master’s. Barrett’s designs caught the eye of fashion house Gucci, who hired him to design for their menswear line. With his designs bringing commercial success, Barrett was promoted to senior menswear designer. After a successful period at Gucci, Barrett proposed the launch of Prada’s first designer menswear collection. Prada hired Barrett as creative director and, under his influence, Prada became renowned for minimalist menswear. During 1994 and 1995, the sales at Prada doubled. In 1999, with the confidence and skills learnt from Prada and Gucci, Barrett launched his own name brand for men. Two years later, the first flagship store was opened in Tokyo.
In 2002 Barrett starting showing his collections at Milan Fashion Week. The same year Barrett collaborated with Puma on a range of athletic shoes. The following year Puma named Barrett as creative director for some of the brand’s collections including Italy’s National Football Team. The football team not only wore Barrett’s sports kit designs, but also his formal wear making Barrett the first designer to exclusively dress a national football team. In 2006, Barrett’s womenswear collection made its debut during New York Fashion Week. The following year, Barrett started designing a concept store with architect Zaha Hadid. The store revolved around a large sculpture and opened in 2008. Neil Barrett’s designs offer an elegant rebelliousness. With refined, waisted suits that fit perfectly, Barrett tends not to follow trends but his own individual taste and instinct.
33
DESIGNER
DESIGNER
34
NEIL BARRETT SPRING/SUMMER 2018 COLLECTION READY-TO-WEAR Neil Barrett is absolutely a fashion designer. Yet unlike many of his peers, he is just as passionately a tailor and a clothier too. Having recently moved to his cool new concrete headquarters on via Ceresio, Barrett now has a space tailored to showcase his exactitude. This mixed men’s and women’s collection displayed an asymmetry in Barrett’s vision of both. With some exceptions, womenswear was most often very angular and evening: long black dresses lightly held at the shoulder with irregular serrations of hemline, some in tulle, some in leather. Menswear, in contrast, involved pared-back then buffed-up takes on masculine uniform that were less overt in their specialness—you had to look for it. Suiting was carefully modulated to contrast gently volumized peak lapel jacket with narrower pant, or shirt-lapelled jacket with drop-crotch carrot pant. Denim was sculpted to offer absolutely no suspicion of slouch.
Barrett said recently that he only started incorporating graphics when the digital audience seemed to demand eye-candy. Here he kept his candy minimal, with double striping that ran laterally through a mac to a shirt beneath and then out to the other side of the coat again. A womenswear look similarly linked cardigan and boob-tube. Some pieces had wider metallic stripes that looked so utilitarian they recalled municipal workwear. Others featured more involvedly textured panels of greens and russets—some shiny, some matte—that recalled the work of Donald Judd, who was namechecked in Barrett’s press release as an influence on not just this collection but also its new home. Neil Barrett is a club you can join only if you have the eye to recognize it. This fine new headquarters is testament—as was this collection—that Barrett’s strategy is bearing fruit.
35
DESIGNER
DESIGNER
PHILLIP LIM DESIGNER
36
We are always looking to break the mold and to do things outside of the box. It’s essential to have a global citizen mindset so that we can recognize what the customer needs or wants. And we focus on hiring people who are creative, fun, smart, and hardworking. Ten years is a lifetime and a half in the volatile world of luxury fashion, and no one has mastered the art of riding the wave like Phillip Lim with his eponymously titled 3.1 Phillip Lim collection. (For those wondering, 3.1 refers to Lim’s age, minus the decimal point, when he launched his line.) Older, wiser, and still committed to an optimistically youthful aesthetic, Lim has learned much in his decade as one of the most celebrated young designers in America. One of those lessons hangs framed on the wall of his Hamptons home: “Never Look Back.” Skipping right over the “fabulous” and “fierce” camps of fashion that frequently dominate runway conversations, Lim’s understated aesthetic has enabled him to avoid of-themoment trends over the years and focus on what he instinctively knows women want: Clothes that are at once effortless and elegant, feminine and frank, chic without fuss. Lim was born in Thailand to Chinese immigrant parents; the family fled to Southern California to escape the Cambodian Civil War. A graduate of California State University at
Long Beach, Lim’s early introduction to design came from his mother, who found work as a seamstress in Los Angeles after the family arrived in America. Despite his parents’ attempts to guide him toward a more secure profession, Lim was hooked on fabrics, colors, and shapes and pursued his dreams of fashion. Setting out to create pieces that accentuate a woman’s natural beauty rather than alter it, Lim works as deftly with knits as he does with silk, always with an eye on fit. It’s an aesthetic that resonates: First Lady Michelle Obama has donned his dresses for multiple official occasions, while countless celebrities have hit the red carpet carrying one of his covetable bags. Lim’s Soleil, Pashli and ALIX bags have such diehard fans that they have dedicated entire websites to their existence. His appreciation for organic style extends beyond fashion. Lim once said that if he wasn’t a designer, he’d work as a florist or become a botanist. “I love the idea of nurturing something beautiful,” he told The New York Times in 2010.
37
DESIGNER
“I’ve always loved clothes but growing up in the suburbs of Orange Country I didn’t know what fashion was”
DESIGNER
38
There was no big concept or elaborate set at 3.1 Phillip Lim today. Instead it seemed as if the designer was wiping his slate clean, going back to basics. The show opened with a look that seemed primed for a no-nonsense, New York summer wardrobe: a white tank with a gently asymmetric line, slouchy pinstripe pants, and barely there sandals that were devoid of any bells and whistles save for a shiny pebble-like toe clasp. Classic white shirting figured into the collection as well, with several iterations of the pristine button-down—sometimes long and lean like a tunic, other times romantic and voluminous with ruffles across the body and rolling along the sleeve. Lim was reluctant to nail his inspiration to any one tree this season, though he did cite flamenco dancers and ’90s minimalism as touchstones backstage after the show. Those seemingly disparate references came together in a series of crisp cotton ruffled dresses, skirts, and crop tops toward the end of the show. Lim hit his sweet spot, however, when he reworked the toughest pieces in his sartorial repertoire, including workwear-inspired denim jackets, sleeveless trenchcoats, and one particularly fetching pair of cargo pants cut from satin and denim. The designer rarely misses a beat where accessories are concerned, and the aqua sock-style sandals he showed were a chic and comfy take on the current craze for sock booties. With its bowling silhouette and cross-body strap, the new 3.1 handbag had a cool, understated vibe that was a refreshing departure from the highly impractical mini purses and flashy logo It bags that have dominated the runways for the past few seasons. That less-is-more approach is likely to carry weight on the shop floor come the spring.
39
DESIGNER
DESIGNER
DESIGNER
40
CECILIE BAHNSEN “I always knew that I wanted to get as much experience as possible before starting my own company.”“I learned a lot about craftsmanship, detailing and that you shouldn’t be afraid to be feminine and romantic in your approach, which for me is so important to carry on in my brand today… but also to mix it with the minimalistic Scandinavian aesthetic that I grew up with.” Cecilie Bahnsen is a Danish fashion designer who has recently completed her MA at Royal College of Art in London. After graduating from the Danish Design School in 2007 she worked as first assistant for Anja Vang Krag doing freelance work for Christian Dior in Paris as well as the Royal Danish Theatre in Copenhagen. She then moved on to do an internship with John Galliano in Paris, where she was subsequently hired as first line assistant and print designer. This summer she graduated from the Fashion Womenswear department at the Royal College of Art. In 2008 Cecilie Bahnsen was selected for the Prentices Talent Competition ITS 7. She has also been selec-
ted to show her first collection at the exhibition space at on/off. The collection is inspired by the super modern look of the 1920’s World Exhibitions in Paris and their illusionary conception of the future, combined with references to the 1990’s and how Cecilie used to dress as a teenager.While creating the look and selecting materials for her collection, Cecilie focused on achieving an effortless feel and a style that would radiate wearability. She worked with soft layering of materials and a strong focus on techniques and fabric combination. The main lines of the collection were graphic print, shiny bomber jackets and complex folded structures and pleats.
41
DESIGNER
What was it that got you into fashion? I am not quite sure. I have always been interested in fashion and creating looks. As a kid, I dressed really individually: masculine and feminine mixed in new and playful ways. I guess this was the starting point for me in creating my own personal style – a style that was then refined through art school and lots of work experience in both London and Paris. I think working in Paris was what really got me into high fashion. It was the love for craftsmanship, details, fabrics, and design there really inspired me and developed me as a designer.
DESIGNER
42
Your love of detail and craftsmanship is obvious, yet all your pieces look very airy, lightweight, easy, and artistic at the same time. Does this reflect your approach to design? I think it is important that the design is something that the customer will love to put on and wear. Even if the embroidery technique, the fabric, or the construction of the garment is complex, it is important that the final look always appears relaxed and effortless. I think a lot about how the fabric and the construction of the garment work together and support the silhouette of the garment in a light and easy way. What inspires you? Do you find inspiration in everyday life at home, or do you prefer traveling to get inspired? My studio is based in Copenhagen and this is where I get a lot of my inspiration from. Copenhageners have an effortless style and a relaxed approach to dressing. The main lesson I’ve learned from this is that it’s important to feel good in what you’re wearing – that it doesn’t own you. And, of course, Denmark has a rich design history. That means there is a real appreciation for craft and detail, as well as a respect for materials that has probably helped Danish design achieve its cult status. But I don’t think so many people remember how provocative some of these classic designs were when they came out. That’s something I find really interesting. We try to reflect our Scandinavian roots in the tight edit of our collections, in the quality of the clothes and their construction, in the stripped-back color palette, and in the way we embrace innovation and combine it with a kind of poeticism. I also think it is important to travel to gain inspiration and to step away from your habits or traditional ways of designing and develop your process. I’m going to Japan this October, which I am very excited about. Who are your own personal fashion heroes or style icons? As I said, I always loved the girls in Sofia Coppola’s movies and I have always loved the idea of getting to dress the full cast of girls from, for example, The Virgin Suicides. I think there is such soft power in the girls’ appearances and
I love how this becomes stronger and even more defined when they are seen in a group. That is always part of the way we think when we do the styling for our shows. It is important that each individual look is strong, but it is also important that the looks and the styles support each other so that the whole cast of models looks as strong and coherent as possible. Could you explain a little bit about how you develop your collections? What are the driving forces behind them? I think a defining characteristic of my work is the combination of traditional skill and innovative textile design. I develop new textiles for each collection with manufacturers in Italy and use a lot of traditional techniques like quilting, patchwork, and appliqué. I also like to play with layering transparent and opaque materials to create something that is both modern and alluring. I like playing with simple and feminine silhouettes that work as canvases for delicate embroidery and unexpected fabric combinations, and also emphasize the structure and craftsmanship. For the SS18 collection, I had a unique opportunity – I knew the show venue, which was Galleri Nicolai Wallner, before we started developing the collection. The beautiful, light rooms and the colors and tones in the art works really defined the colors and the quality of the fabrics in the collection. I also really liked the idea that each piece from the collection could work as an art piece or a beautiful sculpture in itself. That was very much the starting point and the frame of reference for the collection, which is why I think the final look of the collection became so strong. Why did you choose to be a womenswear designer? And did you ever consider doing menswear? The silhouette of my designs is, quite often, voluminous and sculptural, which I think lends itself more to the feminine. But I do think that it is always important that the designs have a masculine contrast within them. Would you ever be interested in creating a unisex collection? I don’t think so, but I do have this fascination with Edwardian kids’ clothes. I love the proportions and the excessive use of details, so maybe one day a kids’ line where you could really play with details.
43
DESIGNER
Cecilie Bahnsen Copenhagen Spring 2018 Sculpture is a natural starting point for 2017 LVMH Prize finalist Cecilie Bahnsen. Her designs are tactile and precise, and like any great piece of art, they draw you in with a single glance. Such was the case with her Spring 2018 collection, which was shown today in a gallery space that she found long before she began designing the clothes. “I wanted to make each piece look and feel like a gallery piece,” Bahnsen explained afterward. “I wanted the designs to be able to stand on their own like a little sculpture.” And indeed they did, particularly the full-skirted baby doll dresses and tops that came bouncing softly through the stark-white space.
DESIGNER
44
Bahnsen also introduced more color this season, with light pink and yellow looks that lent a welcome freshness to her familiar fishnet details and quilted fabrics. If last season was about establishing a fictional muse or character study for Bahnsen and her brand, Spring was about refining her. The slightly tomboy-inspired school uniform vibe the designer presented was updated with something lighter and more feminine. The designs seemed much less serious and more relaxed—confident, too. Among the flutter of ball skirts and ruffles, she also showed striking white separates and one particular dress with subtle pleating and billowed sleeves that made you think: I could live in that thing. With plaited pigtails and socks and sneakers worn with every single look, the new Bahnsen girls are a little “cute, like they could be Peggy Guggenheim’s nieces,” the talented young designer said. “We are working with the same fabrics and materials, but making sure the DNA of the brand is being evolved and perfected—it’s been really fun to push it.”
Whilst the voluminously structured, full-skirted babydoll dresses have a whisper of drama to them, they also, with uber-grace, play around with shapes, silhouettes and proportions. The rise of the ‘Copenhagen Girl’ as a vista of international chic, has undoubtedly had a ripple effect – the undeniable draw of Copenhagen Fashion Week. Top on the list of designers that we couldn’t help but drool over this season at Copenhagen Fashion Week was Cecilie Bahnsen. Bahnsen’s ready-to-wear spring/summer 2018 collection has influences of quintessential feminine style. The collection draws upon the idea of a feminine, modern ‘uniform’, and the designer channels an almost archetypal femininity, featuring ruffles, tulle and babydoll dresses.
The rise of the ‘Copenhagen Girl’ as a vista of international chic, has undoubtedly had a ripple effect – the undeniable draw of Copenhagen Fashion Week.
DESIGNER
The label sticks to its minimalistic, monochrome colour aesthetic, but what we love, is Bahnsen’s use of colour in her third season. The pastel pink and baby-blue, give the collection a refreshing flush of colour and add to its softness. Whilst the voluminously structured, full-skirted babydoll dresses have a whisper of drama to them, they also, with uber-grace, play around with shapes, silhouettes and proportions.
45
DESIGNER
AUDE CASTÉJA DESIGNER
46
Aude Castéja is a young French designer who studied at the Parisian fashion school ESMOD. After studying business she worked as a press agent at Karla Otto, London, where she was in charge of prestigious brands. Following this she returned to Paris to work in the marketing department of Céline. In 2013 Aude founded and launched the brand MONOGRAPHIE. Aude’s creations are characterised by the juxtaposition of colours, creating minimalistic
and orderly lines. By putting a modern spin on the classic female garments, her creations are unique, pure and easy to wear. Offering a full range of clothes to give a complete wardrobe, Aude prefers the use of high quality Italian fabrics while all clothes are fabricated in France. Thanks to the clean cut, effortless style based on the idea of affordable luxury, MONOGRAPHIE has already impressed many high end retailers in France and worldwide.
47
DESIGNER
INTERIOR DESIGN -Used to express the view that a minimalist approach to artistic or aesthetic matters is more effective.-
LESS IS MORE
DIFFERENT HOUSES AND SHOPS WITH DIFFERENT INTERIOR DESIGNS BUT ALL SHARING A MINIMALISTIC AESTHETIC WITH SIMPLE DECORATIVE PATTERNS
49 INTERIOR DESIGN
STUDIO MILLS
Studio Mills converts Kraków monastery flat into light-filled family home London office Studio Mills has transformed an apartment at an old Kraków monastery into a light-filled family residence. Studio Mills, founded by twin sisters Jayne and Kirsty Mills, used pale colours, simple furnishings and bespoke joinery to create the minimalist interior for the Polish home.
INTERIOR DESIGN
50 The designers opted for Douglas fir flooring and white-washed walls to make the space feel bright and airy. They also kept the layout as open-plan as possible.
“The client wanted a modern home you could simply turn the key and walk into,” the studio told Dezeen. “We based the design on the architecture of the apartment; glazing to both sides – plus as the penthouse, it is the highest apartment in the building, so is flooded with light.” In the living area, a full-height library wall made from white lacquered plywood – complete with a rolling ladder – spans one wall.Here, the designers also introduced some bold colours through furniture and decorations.
A grey sofa contrasts with a mustard yellow arm chair and a circular green sidetable, while a monochrome rug stands out against the light-coloured wooden floor. “We wanted to maximise the short daylight in winter so we created a palette to reflect the light as much as possible,” added the designers.
__ Photography is by Edmund Dabney.
A kitchen is located at the rear of this space, separated by a small dining table that features chairs in different shades.In the kitchen, bespoke cabinets are coloured in pale green tones – a shade that is echoed on feature walls in the lounge and dining space.
51 INTERIOR DESIGN
Studio Mills is based in southeast London. The studio was also behind the Manhattan store for watch brand Larsson & Jennings, which features a cantilevered display counter and a bar serving typical Swedish refreshments.
RÄS STUDIO Dark grey tiles, black and white paintwork, and leafy pot plants complete this minimalist apartment in Barcelona designed by Spanish architects RÄS studio.
INTERIOR DESIGN
52 RÄS studio removed a series of walls that divided the long and thin La Olga apartment, and blocked natural light. They created a pair of light and airy bedrooms with large windows, and an open-plan living, kitchen and dining area.
The team, who recently renovated another Barcelona apartment in the same style, left the existing brickwork and vaulted ceilings exposed and painted them white.
RÄS studio updates Barcelona apartment with monochrome paintwork and textured tiles
Dark accents help to break up the space into specific areas. Grey corrugated tiles cover a section of wall beside the kitchen, while the hallway and bathroom to its rear are painted completely black, and have black floor tiles. Mottled grey tiles cover floors throughout the rest of the spaces.
53 INTERIOR DESIGN
“We covered a piece of a wall with the tiles that were left over from the flooring, but they were pasted on the wall showing their back, creating a powerful vertical grey texture on a white wall,” architect Clàudia Raurell told Dezeen
“We found La Olga with way too many partitions regarding its dimensions and its availability of natural light and ventilation,” she continued. “We worked on contrasts to break the volume up into planes, a gesture that makes the space have some complexity.”
INTERIOR DESIGN
54 A sliding corrugated glass door separates the master bedroom and the living area, allowing light to pass between the two spaces while maintaining privacy. Leafy pot plants and just a few pieces of furniture ensure the pared-back apartment retains an uncluttered appearance. __ Photography is by Adrià Goula.
The kitchen is fitted with black cabinets that contrast a white central island, and a single black ceiling beam above it marks the position of one of the removed walls.
HASA ARCHITECTS HASA Architects has turned a dark and dingy apartment on the second floor of a three-storey Edwardian Terrace in London’s Bankside into an all-white minimalist family home. Located on a dense urban site in London Bridge, the two-bedroom apartment had previously been served as an office space – giving it a layout described by HASA Architects as “unconventional with dark and unwelcoming rooms”.
55 INTERIOR DESIGN
To complete the all-white scheme, the architects fitted bleached timber flooring, while colourful art and furniture pieces are used to accent the space. A kitchen island separates the kitchen from the living area, which was conceived as one connected communal space. Located at the front of the property, the kitchen and living area is a social space where the family comes together to cook, eat and relax.
To create a brighter interior, the architects removed all the existing partitions and inserted a series of vertical panels. The open-plan layout allows light to infiltrate each room and provides better visual connections across the apartment.Connected by a central axis, the vertical white-oiled Douglas Fir panels divide up the living and sleeping spaces. Full-height hinged doors fold back into the walls out of sight to allow for varying degrees of privacy.
HASA Architects transforms London apartment into “seamless white box”
A series of cabinets that back onto the shower enclosure provides additional worktop space and storage in the kitchen. The bathroom is finished in basalt – a dark volcanic stone that sits in contrast to the rest of the apartment. Facing the rear elevation with doors that lead out onto a small terrace, each of the apartment’s bedrooms comprises built-in beds, storage and wardrobes.
INTERIOR DESIGN
56
“The precision of the design builds on the small floor plan to create a generous sense of space and allows the users to control areas to suit their needs,” summarised Mark Stevens, director at HASA Architects. “We chose the materials for their ability to reflect light throughout the apartment and to create a seamless box that the homeowners can make their own.”
project praga transforms historic brewery in poland into minimal apartment
PROJECT PRAGA
Warsaw studio Projekt Praga has created a suite of pared-back and plant-filled holiday apartments inside a 19th century brewery in southeast Poland.
Projekt Praga played a key role in the overall renovation of the historic Vetter Brewery complex located in the city of Lublin, within which they created the “aparthotel”. The Perla Brewery apartments form the second phase of renovation, following the earlier addition of a beer house within the adjacent part of the building.
57 INTERIOR DESIGN
The Warsaw-based studio wanted to preserve as much of the existing architecture as possible, while creating contemporary accommodation within. “The idea was to develop the brewery both in a commercial and public way, keeping all the historical buildings; to give back to the city this important place, making it more present in everyday life of their residents and tourists,” architect Zofia Stachura told Dezeen.
The aparthotel comprises seven apartments with floor areas varying from 25 square metres to 62 square metres, and offers rentable spaces for individuals as well as bigger parties visiting the Polish city. Labelled by letter, six of the apartments are arranged behind the wooden doors of the former brewery’s first floor corridors, which are accessed by two staircases. The remaining apartment is located on the ground floor.
INTERIOR DESIGN
58 The self-catered rooms – each varying in arrangement – are minimally finished with an open plan arrangement and large wooden boxes that incorporate bathrooms and storage. Pared-back finishes throughout include white walls and painted herringbone floors. Colour is only present in the plants and a series of Polish tourism posters by artist Ryszard Kaja, introduced to “combine typical hotel elements with more homely motives”.
Pot plants are dotted among pieces of traditional furniture, including grey stools and a black table and chairs made in the local furniture factory Fameg. Further contributing to the pared-back finish of the space, the designers teamed wire armchairs from Danish design brand Hay with light fittings that have exposed bulbs and protrude from the walls.
The wooden box in each of the rooms eradicates the need for partition walls, with a kitchenette, wardrobe and working space placed in recesses around its edge. The cube encloses an entirely white bathroom, complementing the rest of the apartment’s minimal aesthetic.
59
Projekt Praga’s previous projects include a secluded mediation space which protrudes from one side of an art studio in Warsaw. Other apartments with a minimalist aesthetic include a Tel Aviv home with geometric metal shelving and a kitchen hidden behind folding doors. __ Photography by PION
INTERIOR DESIGN
Partition walls only feature in the larger of the apartments, where bedrooms are separated from the main space and comprise beds raised on recessed platforms and accessed by a small step. Finished in muted natural tones and filled with diffused light, these separate bedrooms contrast with the bright white living rooms, marking themselves places to relax.
MNMA STUDIO MNMA Studio gives São Paulo fashion store a stark makeover
There are barely any clothes in this minimal fashion boutique in São Paulo, which local firm MNMA Studio has expanded with a glass-fronted corridor to join its two sides.
INTERIOR DESIGN
60
MNMA Studio overhauled women’s clothing store Egrey on São Paulo’s Avenida Brigadeiro Faria Lima to freshen up the interior and connect its separated sides. The street is a popular retail destination, as it runs along the city’s iconic Iguatemi shopping centre, the expansive Pinheiros Sport Club, and its upscale neighbourhoods.
Egrey was previously divided between a three-storey structure and a two-storey building on either side of an alleyway. The Brazilian architects joined the two with a single-storey volume that is fully glazed along its street-facing facade. In this connecting space, a single white dress is displayed on a mannequin within the equally stark room.
61 INTERIOR DESIGN “Connecting both volumes, there is a translucent attachment that allows the entrance of natural light, thus creating an inner atmosphere with the sensation of the passage of time by the variation of the light itself,� said MNMA Studio.
The taller building to the left was reclad in white plastic to match its neighbour, bringing cohesion to the exterior. The team also resurfaced the sidewalk and a portion of remaining alleyway to make the store seem more inviting to passersby. “The main point of contact between the interior of the store and the outside environment is its sidewalk, which has been transformed into a large continuous plane,� said the studio.
INTERIOR DESIGN
62 White walls and polished concrete flooring are found throughout the interior. Cove lighting hidden in the ceiling washes the surfaces with light, adding to the generous amount of daylight entering through large windows.
Some of the retail spaces are as minimally populated as the corridor, with just one or two garments displayed on thin black rails. Other rooms have much more stock on show, with muted-coloured clothing and accessories presented along their walls.
Furniture such as lounge chairs, coffee tables, freestanding mirrors, and plant pots are peppered across the otherwise empty spaces.
63 INTERIOR DESIGN
Fashion retailers often opt to showcase their garments in very minimal spaces. Some of the most sparse boutiques include Christopher Kane’s London store by John Pawson, Acne Studio’s shop in Seoul by Sophie Hicks, and Helmut Lang’s outpost in West Hollywood by Standard Architecture. __ Photography is by André Klotz.
SPOTS
SPOTS
64
Proti Proudu Bistro dreams, if ever such a café in Prague, a small bistro where they do not serve the “pool” , but good strong espresso without acidic tail. Open it. Have him. Live with him. In him. “That dreams come true is cliché. Kýč. But why not one dream fail? “She is my wife often between heaven and earth, but she is always right in fundamental matters.” Karolina and David Koneční. From the very beginning, we want to have a bistro that will live. Where it will be possible to have breakfast all day, drink good coffee, wine, to give a well-chilled prosecutor to the sandwich loved by Elvis Presley. Enjoy the taste of the best BLT sandwich in Prague, having a first date, quick soup, homemade bread, a few specialties from Sardinia, and desserts you will not want to share. And the legendary eggs in the glass!”
65 SPOTS
“In August, most of the stars are falling. It is warm. She is beautiful. Holidays are halfway. We are at the beginning and it’s a wonderful feeling. It’s Tuesday, 5. August 2014, and architects from the Modulor and Mimosa studios present us with the first bistro interior design. We are excited, but it is clear that we have a long way to go. “We were looking for something extra for the interior and we have such a small libretto for you,” said Dušan Řezáč and Petr Moráček in the river. We are all curious. And next year we want to live in the bistro, work, work, watch his traffic, laughing girls on Karlin street, busy businessmen, schoolchildren from Lyck square, and the rest of local gypsies who invent other burglars. Drink great coffee, eat good sandwiches and have breakfast all day. We enjoy it.” Italy, landlocked, pump. “A cafe prego.” And then there was only a small heated cup with a double wall, a creamy cream and a delicious, godlike taste ... And eternal, endless
Architects: Mimosa architekti Location: Březinova, Karlín, Prague, Czech Republic Collaborator: Lenka Pechanová Year of the Project: 2015 Photographies: BoysPlayNice
“The concept is clear: an unspoilt bistro blended from Nordic austerity and simplicity, clean lines and airy, Italian gypsy and slightly French countryside. (We leave first). Materials: stone, wood, glass, colors white, gray, not shades yellow and orange. Dominant - a counter with a coffeemaker and a cooled showcase of cuboid shape (especially not the confectionery wave). Immediately renaming the aquarium. It is clear that in the bistro they never go through the classical Tones - numbers 14 and 18 they fall from their purse.”
SPOTS
66
“Due to the bistro’s Karlín address, architects are reminiscent of František Křižík. It’s the libretto. František Křižík built his first factory in Karlín in 1884. The first tramway was connected by Karlín and Libni and his arc lamp was lit not only by Karlín since 1887. “Electricity is interconnected, just as good coffee. Lamp hanging in the café area connects people at the tables between them and those behind the bar. Together with people, they light up a café. By visualizing this connection the
lamp wires create a character giving space character, “explains our idea Dušan Řezáč. “Instead of an arc lamp, Edison’s light bulb will shine here, but it can also be seen as a connection between inventors, rivals, space and time. In 1881 František Křižík achieved great success at the exhibition in Pažží. His arc lamp competed with Edison’s bulb (it grew stronger than Edison’s light bulb) and won the gold medal, “adds Petr Moracek.”
Owned by a husband and wife team, David and Karolina Konecni, both journalists, the bistro, whose name means “against the current” in English, offers sandwiches, soups, desserts and all-day breakfast, an anomaly in Prague.
67
The basic spatial hierarchy of the bistro on the ground floor of the 1930s house preserves the year of Březinov and Petr Slezák streets.
The seating is placed along the walls of the space and on the raised part - some stage - they give a solitary stool for six to eight people. Due to the overall concept of the bistro, we agree on white chairs and create a stage as a kind of levitating part of the café. Snove. Lightweight. “Invisible”. A major change has been made by the bistro base for the guests. The access to it has moved to the rear, allowing better organization of the background and a better use of the bistro itself. We have preserved the marble floor. However, the reconstruction did not survive the triple partition windows. She has replaced them with a perfect extraction system, enlarged and made to see the café out of the street and the café out. The two worlds are interconnected and drawn together.”
SPOTS
“There comes a period of search, change, persuasion, testing, discussion, debate, clarification. Approximately after a month, we deviate from the original idea of making a counter - a sort of jewel of the whole bistro - of stone, stretching the marble floor (original) to the counter and creating a stone waving. We exclude wood and the favorite is a rusty sheet. It has a distinctive texture and colorfulness in which it is not difficult to find the shades of coffee and, last but not least, it is a material in which a motto of the entire baker In coffee we trust can be carved. The counter board is designed from a massive oak - it exports the hardness of the sheet.
ORANG+UTAN CAFE
SPOTS
68
Ukrainian studio AKZ Architectura completely covered the interior of this vegetarian cafe in Kiev with white tiles and installed a “jungle” in the toilets.
Situated on an old Kiev street populated with Soviet-era buildings, AKZ Architectura – founded by Artem Vakhrin and Katya Zuieva – hoped to make the restaurant a “bright spot” in the area.
“The idea was to create a place that would show costumers the idea behind Orang+Utan bar,” said the architects. “The city is a jungle and people who live there are smart animals, they need a place to refill energy.” White tiles were applied to the walls and ceilings using dark-coloured grout, and metal cages were suspended from the roof for storage. “The older audience can see Ukraine’s Soviet past in this tiled design,” the architects told Dezeen. “The reason why it’s happened is simple: in the former USSR there was only one type of tile for everything including hospitals, shops and pools.”
69 SPOTS
They developed a predominantly bright white design that would stand out when seen from the street through the cafe’s small black-framed window and glazed door, but hid a cluster of green plants in the bathroom.
“The city is a new ‘jungle’ and persons who live there are the new ‘smart animals’ and they need a place to fill energy” “We created a green zone to make customers feel like they are in a natural habitat,” said the architects.
SPOTS
70
A single white table runs along the edge of the restaurant with tile-clad leg supports. It has enough space to seat 10 diners, with white metal-framed chairs. The name of the cafe is spelled out in white neon letters above the eating area. Behind the tile-clad counter, the cafe’s vegetarian menu has been applied to the wall in bold black lettering. In the bathrooms, stainless-steel fixtures are paired with the tropical-looking plants and trees and displays of pink-painted fruits.
71 SPOTS “Orang+Utan is a bar sandwich + food to take away. Orang+Utan is a formula, an equation that describes the nature of our establishment. In Russian it sounds as man+forest. We try to be as inhabitants of the forest, like the most sensitive creatures, when we choose quality food. We cook fast and deliciously, using products of exclusively vegetable origin. Our vegetarian food is nutritive; the menu has seven sandwiches, salads and shakes, which includes super aliments. Despite the absence of alcohol, the atmosphere in “O+U” is always animated. A team of chefs and waiters, young people, prepare sandwiches and beverages in a few minutes in an open and clean environment of our bar. Make sure that you most successful instant image is taken into the reflection of our mirror, that appeared suddenly in the green thickness of the “jungle” (#orangutan_bar). Make a choice in favor of healthy and juicy foods and come to visit us!”
SPOTS
72
1or2 cafe BY NORM ARCHITECTS THE NETHERLANDS
Norm was founded in 2008, and took the name “norm” to announce their ultimate defiance “normal” and their ability to challenge preconceptions and translate tradition into the modern world. As is the Nordic way, they pride themselves on fine craftsmanship and durable materials that will stand the test of time, and outlive the trivial nature of temporary trends. The result is a lot of bright, white space with contrasting natural materials in strong form, sharp lines and bold color. April and May follow a similar aesthetic with a lot of monochrome and a strong presence of materials in their raw, natural state, delicately complimented by soothing patterns and gentle tones. Put these two together, and 1 + 1 = 1 or 2. Math, got it?
The space glows with whitewash walls, ceilings and floors, creating a box-like illusion without box-like constraints. The space feels open, wide, airy and breezy. Accents range from pale wood counter-tops and display units to black and stone tables with the occasional appearance of steel flatware. The theme is largely monochrome and minimalist, interspersed with April & May pattern work. This is the ideal space to sit and soothe, enjoying a White Label Coffee after perusing the shelves of MENU products. Perhaps a spell of meditation and some generally zen-like behavior. You must also never raise your voice above a whisper unless absolutely necessary.
There is a resounding sense of calm, as the team have been hugely influenced by Japanese and Scandinavian culture. Open, spacious, light and fresh, the cafe operates as the ideal dessert having dined on the First or Second store, to re-calibrate the mind and to brace oneself for any further shopping experiences which are bound to be less relaxing. Norm strive to create the abnormal, and here we have a store where the term “retail therapy� finally makes sense, as the natural progression from purchase to repose becomes truly therapeutic.
73 SPOTS
20-year-old Alex Gelonesi is the kind of barista that instantly remembers your name and coffee order, pouring it before you even walk through the door. Alex and his uncle, Frank Catanzariti, have opened up 1or2 Café, an exciting new addition to the green lawns of Manuka, serving up great coffee and even better food. When speaking about how the café came together, Alex explains, “I’ve been in the hospitality industry for about five years now and my uncle and I have been talking about starting our own thing for a while. We saw the opportunity and took it.”
SPOTS
74
It’s clear that Alex has an unwavering passion for the industry; however, it’s a whole family effort. “At the moment, it’s me, my brother Zach, my uncle Frank, my Granddad and sometimes mum helps too,” he says. The family are ecstatic that within their first week they already had a full house and are furthermore excited to see how far they can take the café as a family. 1or2 Café has taken shape in the iconic space that was previously known as Grande’s. Designing the new fit-out was difficult as the space is heritage-listed space and there were a lot of regulars who didn’t want to see the beautiful shop front go. The team succeeded in maintaining the same old-fashioned feel that Grande’s had, but with a fresh, contemporary atmosphere. Keeping the original façade of the 1983 shop, they stripped black paint from the window frames to reveal the stunning original brass underneath, adding shine and a nostalgic feel to the shop front. In terms of the menu, Alex says, “We’re going back to basics, everything’s so complicated these days, there’s nowhere you can go for just simple stuff.”
75 SPOTS
Catanzariti is the man behind all the food, with experience cooking in his own cafes for over 20 years.
quick and easy lunch option, which is hard to find in Manuka when you’re in a hurry.
“We’ve got a lot of things on the menu that we always make at home on the weekends. It’s food that we all love and grew up eating,” he says.
Customers can expect to see local bakers on the shelves, with cakes and bread from Flute and Knead Bakery; and local Black Mountain coffee, which is roasted in Fyshwick.
Some stand-outs on the menu include the Mushroom Bruschetta with avocado and pine nuts and the Spanish Eggs served with homemade tomato sauce, basil and chorizo, as well as gourmet takeaway sandwiches – a
Perfect for relaxing on any day of the week, 1or2 is a quaint and casual family-run café, which is set to be a new Manuka favourite this summer.
Open 6 am – 4 pm, 7 days a week. 4/19 Bougainville Street, Manuka – on the lawns.
IDEAS FOR... - Radical fancies or conceptual fantasies, it is from now on in the intimacy of the bedroom that all the eccentricities are unfolded. For nights crazier than the day ... In the mood for bedroom.
... CREATING A MINIMAL ROOM
__ The Cereal Abode, a minimalist penthouse in the heart of London. Designed to absolute perfection by Copenhagen based stylist Natalie Schwer.
77 IDEAS FOR
back to black
__ Cozy minimalist bedroom inspired by nature with wooden touches, which make the whole room special.
IDEAS FOR
78
unique piece
__ The Gypsy Hanging Chair is hand weaved by rope. Perfect for that macrame loving, bohemian, free spirited gypsy bedroom.
79 IDEAS FOR
boho
__ Following the minimalist atmosphera , the combination of dark colours create a chic and elegant room. Perfect!
IDEAS FOR
80
dark
__
rustic
In the attic guest suite of a chalet in the Italian Alps designed by Alessandro Agrati, the floor is oak, the picture frame and horn table are by Fit Up, and the cashmere blanket and wool pillows are by Gruppo di Installazione
81 IDEAS FOR
__ Combining neutral colors this fresh, bright and light bedroom is full of light. It is unbelievable what a fresh coat of white paint will do to a whole space!
IDEAS FOR
82
white
__ The coherence of details is fundamental for giving each nook a sense. Simplicity, essential, white and wood. This elements give a powerful result to the atmosphere.
83 IDEAS FOR
country
REFERENCES ARTIST DUO http://edition.cnn.com/style/article/elmgreen-and-dragset-selfie/index.html https://www.artsy.net/article/artsy-editorial-in-the-studio-elmgreen-dragset-name-their-inspirations http://www.nyartsmagazine.com/elmgreen-dragset-powerless-structures/ https://www.theguardian.com/artanddesign/2016/mar/30/elmgreen-dragset-van-gogh-ear-new-york http://publicdelivery.org/elmgreen-dragset-prada-marfa-2005/ http://artobserved.com/2016/12/new-york-michael-elmgreen-and-ingard-dragset-changing-subjects-at-theflag-art-foundation-through-december-17th-2016/ https://www.victoria-miro.com/exhibitions/483/
REFERENCES
84
ARCHITECTURE http://www.biotope.no/ https://snohetta.com/about http://www.reiulframstadarchitects.com/about-us/ PHOTOGRAPHY http://lamonomagazine.com/lina-scheynius-retratos-hacia-la-introspeccion/ http://www.dresslab.com/es/notes/lina-scheyniuss-life/ http://www.lomography.es/magazine/163477-lina-scheynius-la-promesa-de-las-analogicas https://www.vice.com/it/article/wdwben/lina-scheynius-fotografa-nudi https://i-d.vice.com/en_us/article/43wwy3/photographer-lina-scheynius-will-make-you-see-fruit-andflowers-differently http://www.anothermag.com/art-photography/2359/lina-scheynius https://www.ignant.com/2016/09/01/fashion-photography-by-paul-jung/ DESIGNER http://www.catwalkyourself.com/fashion-biographies/neil-barret/ https://hypebeast.com/2014/11/interview-with-neil-barrett http://thewindow.barneys.com/the-well-edited-life-phillip-lim/ https://www.vogue.com http://thewindow.barneys.com/the-well-edited-life-phillip-lim/ http://www.whowhatwear.co.uk https://www.notjustalabel.com/designer/cecilie-bahnsen https://www.businessoffashion.com http://theamanqiedit.com/designers-we-love-the-cecilie-bahnsen-ss18-collection/ http://hey-woman.com/2017/label-to-watch-cecilie-bahnsen/ http://www.modemonline.com/fashion/mini-web-sites/fashion-brands/references/monographie INTERIOR DESIGNS https://www.dezeen.com SPOTS https://www.nytimes.com/interactive/2015/09/22/travel/things-to-do-in-prague.html https://www.urdesignmag.com/architecture/2015/11/05/orangutan-vegetarian-bar-in-kiev-by-akz-architectura/ http://www.knstrct.com/interior-design-blog/2014/12/17/1or2-cafe-by-norm-architects https://www.outincanberra.com.au/1or2-cafe-a-quaint-and-welcome-addition-to-manuk