Posi tive 12 issue

#12

DIFFERENT VIEWS AROUND THE WORLD

www.positive-magazine.com

Photo by Giacomo Cosua

Founder & Editor in Chief Giacomo Cosua Berlin, Venice Graphic Department Marco Forlin Venice Livio Chiodega Berlin Valentina Siciliani Venice Marketing & ADV Department Filippo Erizzo Berlin Dario Mosconi Padova Web Department Pietro Gregorini Milan Photography Department Ada Sbriccoli Barcelona Victor Anton Milan Tobia Piatto Venice Petra Fantozzi Berlin Flickr Page Editor Silvia Conde Barcelona Fashion Department Land Fashion Editorial Director Fashion Editor at Large Rosario Morabito London Senior Fashion Editor Sara Cimino Milan European Fashion Editors Liselotte Fleur The Netherlands Angel Leung UK Alejandro Reyes Fernandez Madrid Gianluca Gamberini Paris Giulia Meterangelis Milan Oceania Fashion Editors Mike Lee Sydney

+ DISCLAIMER POSI+TIVE MAGAZINE non è responsabile per i testi, le fotografie e le illustrazioni pubblicate all’interno, poiché di proprietà degli autori. Tutti i diritti sono riservati, la riproduzione è espressamente vietata ai sensi delle norme che regolano i diritti d’autore. web www.positive-magazine.com facebook facebook.com/positivemagazine flickr flickr.com/groups/positivemagazine mail info@positive-magazine.com

Culture and Art Department Valeria Federici New York City Andrea Santoro Rome Matilde Casaglia London Giovanni Paolini – Guest editor London Jenna Garrett U.S.A. Rachel Ridge London Laura Zauli – Film Editor London Architecture Department Architecture Editor in Chief Eugenia Gotti London Costanza Madricardo London Enrico Mancini Trieste Riccardo Del Fabbro Berlin Exhibition Department Marco Zavagno Milan Columnists She Thought Outside The Box Silvia Conde Silvia Cabra Downtown’s Tale Alessandro Benvenuti Go Die in DC Luca Filippi Negative Andrea Santoro Translation Department Federica Manzolini Marco Munoz Lozano Israel Fernandez Benito Nicola Rossi Francesco D’Ambrosio Francesco Cristelli Bianca Baroni

Index.

POSI+TIVE MAGAZINE Issue 12

06.

Cover Story: An interview with T-Mills

42.

Good Girl Gone Bad, by: Justin Miller and Morgan Miller

18.

A JUNK LOVE

32.

YOUNG AND IN THE WAY

58.

MOLTING KOSOVO

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THE STORY OF JADE

92.

CROSSING JORDAN

102.

Bread & Butter opening summer 2013

116.

Berlin Fashion Film Festival 2013

138.

Daks Spring / Summer 2014

148.

ANDREA POMPILIO ss14

156.

Déjà View Project

202. all about Graham

222.

Sleeping Beast

230.

Redhead Festival

246.

Miles Langford

214.

It’s sunday in Bushwick

144.

ICEBERG Spring / Summer 2014

168.

Designing Brazil: mind, body and soul

Cover Story:

An interview with T-Mills + Photography Giacomo Cosua Thanks to John Zagata

You are originally from Riverside, California.

How did where you grew up effect the music you make? i feel like growing up in a town outside of a big/busy city like la gave me a lot of time to find things out for myself. to listen to what i thought was cool. to go to shows i maybe wouldn’t have gotten to experience living in a place so used to it. riverside had a cool local scene when i was a teenager.

I’m grateful for it.

What were your biggest musical influences as a child? i listened to everything. once i got the internet there wasn’t really any record i couldn’t obtain. nirvana was the first album i’ve ever had. i still have it. blink 182. nofx. the ramones. wutang clan. bone thugz. r kelly. do or die. queen.

I’m kind of all over the place.

Constantly touring must be exhausting.

How often are you able to get back home?

I’m home more often than id like to be honest. I’m extremely busy but i LOVE playing shows and being on the road with the people who support me. touring is one of my favorite things about what i do so i want to do it as much as possible.

How important a role does social media play for an artist like you? its EVERYTHING to an artist like. its what started this all for me. its what holds it all together. the connection i’m able to make with my fans from just a tweet or a picture is unexplainable. the world is crazy these days.

You can talk to your favorite artists from anywhere in the world at anytime. its very inspiring.

You got your start on MySpace and then became even more popular through YouTube. With millions of artists putting their work online, how hard do you think it is to “make it” now days? How can some one stand out? i don’t know how to answer this. i still don’t think i’ve technically “made it”. what is “making it” now a days? I feel with the advances in technology and social media its a lot easier for people to create. which in turn means theres more projects coming out. its a great time for music and to be at the forefront of a revolution is exciting. we get to rewrite the rules.

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With a massive presence on Facebook and Twitter, there is a constant dialogue between you and your fans.

Do you feel like these online relationships are genuine?

Is there such a thing as too much sharing? i try to limit about the shit i post. i don’t get CRAZY deep into my family life, but then again i’ve never been the type to be public about my private affairs. i think it is very genuine and i get to build relationships with amazing people from all over the world everyday. to go somewhere you’ve never been and to feel close to home is a great thing.

Apart from your music, what elements do you think have attributed to your success? You are definitely well known for all of your tattoos and style. i think the fact that i do my own thing. I’m a stand alone artist. i don’t need features. i don’t need a co sign. what you get is what you see. me.

With your fan base spread out all over the world, can we look forward to a European tour? most definitely. id love to come back before the year is over.

Describe your daily life while on tour. Obviously there is a lot of traveling, but you must have some great experiences.

Any funny stories to tell? We know that once your father was with you on tour for a while and it seems you had a lot of fun with him. Can you speak a bit about it? i wake up around 10/11 and try to find the closest place to get a coffee. we workout around 3 before soundcheck everyday. i hangout with my vips at 530 inside the venue for an hour. show starts @ 6. wait for a few hours. play. do a meet and greet with fans. try to find a shower. change into dry clothes. smoke. and wherever the night takes me from there.... my dad loves the road life. he’s the best. he has to come on the next one!

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+ Photography DAVID SIMON Website www.davidsimonphoto.com wwww.leafhopper.eu

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Sergey (26) and Katia (28) are a heroin addict couple who live in the south east suburbia in Saint Petersburg, called Bolchevikov Prospect area. Sergey has been imprisoned several times and the reasons have always been related to drug possession, drug traffic and self consumption. It is been only one month since he came out from jail after spending the last three years of his life in prison. Since she was a teenage girl, Katia has also spend little periods of time in prison for committing small compulsive robberies.

Life in prison has not been easy either for Sergey, which in there he has been beaten up, suffered abuses and has lost two fingers on his right hand; or Katia, who has her nine years old daughter when she was still imprisoned.

After meeting each other in jail, Sergey and Katia share their freedom, a home, a daily common life and an addiction.

David Simon Martret was born in Barcelona where he is currently living. He began his career with a Philosophy degree at the University of Barcelona. While studying he started to be interested in an “expression of form and the philosophy of imagery in order to obtain knowledge of himself and others around him”. As a result he began experimenting with photography and later went on to study at the IEFC (Institut d’estudis fotogràfics de Catalunya).

Now David works as a freelance photographer and social documentary artist. He travels around the world working on his own national and international projects.

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YOUNG AND IN THE WAY + Photography Stephanie Mill Website cargocollective.com/stephaniemill

This is a documentation of existing alone, together. I am exploring the ever present need for both intimacy and independence through my experiences and connections with the ones I surround myself with. It is an archive of the geography of human relationships.

The images exist as a self-curated collection, a structured collage. The work does not read as a linear narrative, as the goal is not to tell my audience a sequential story - it is to envelop the viewer in an honest portrayal of my life. This is not about introducing the viewer to an angst-ridden young adult's life, stuck lingering on the cusp of youth, but to allow the viewer into a world that I previously believed to be something I should keep to myself.

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I am not looking for sympathy or acknowledgement that I am doing something brave. I am looking to put myself in a position where I could potentially fail, find contentment in the contingency, and acknowledge that it is okay to be blunt and present images that exist without safety nets and comfort zones.

Young and In The Way is a project that will never be finished.

I will be capturing it for the rest of my life. It will always remain close to home for me, not because I feel like my story is more important than any other, but because I need to work this way in order to understand myself. If I don't care about the work, then who will?

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Good Girl Gone Bad, by: Justin Miller and Morgan Miller + Photographer Justin Miller, miztermiller.com Text Morgan Miller Assistant Kate Lovell, katelovell.com Stylists Justin Miller, Kate Lovell Models Whitney Diederich, Wyatt Noble Hair/Makeup Whitney Nelson Wardrobe Courtesy of Fresh in Salt Lake City, Utah

Parting from the safety of familiarity into the unknown.

Following desire and the promise of adventure.

Fighting her inner need for order, the good girl is going bad.

She is chasing a fleeting happiness that he holds deep within.

The promise of love is his lure. In him, she sees her escape.

The good girl has gone bad.

Has she grasped the happiness she so desperately craved?

She is lost. All order has been abandoned. He is her guide.

The bad is the good girl’s new normal.

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+ Wyatt Shirt Comune

+ Whitney Dress Brooklyn Industries Jacket Kill City (similar)

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+ Whitney

+ Wyatt

Dress Brooklyn Industries Jacket Kill City (similar)

Shirt Comune

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+ Whitney

+ Wyatt

Sweatshirt MinkPink Boots Steve Madden

Sweatshirt Obey Shoes Aldo POSI+TIVE | 47

+ Wyatt Sweatshirt Obey Ring Etsy (similar) Hat Jaxon

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+ Whitney Jacket Kill City

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+ Whitney Jacket Kill City

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Whitney Dress Tulle Sunglasses Raen

Wyatt Shirt H&M Pants Zanerobe Boots Natha Studio

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+ Boots Natha Studio

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MOL TING KOS OVO 58 | POSI+TIVE

Molting is what is left behind, what we are not anymore but that belongs to us anyway.

At the time you are confused, After, inevitably different. + Photos by Laure Maugeais WEBSITE www.lauremaugeais.com

Kosovo, a molting region

Laure Maugeais

In the 80’s the local population chanted already demands for autonomy, but Kosovo remained at the level of a quiet suburb of the Yugoslav territory in the eyes of European citizens.

And then the war broke out. Yugoslavia collapsed, Kosovo has the lead at the end of this armed conflict, the last piece of the balkanization.

Independent since 2008, clearly the fate of Kosovo is still not established today. Tension still purrs. The resolutions of the dialogue between Belgrade and Pristina are currently in an impasse despite the violence that erupted in recent weeks in the north of the region.

In its history, Kosovo has always been a geographic, cultural, religious, political crossroads. These are the issues that have progressed and changed the region.

Everyone bustled about showing the territory as he saw fit.

Being in contact with international sent there, and the mass migration ... it is a region that is changing physically and culturally, she is molting. From silence to mediatisation, Kosovo has changed.

She has exhibited in France and abroad, at such events as: the Night of Museums 2008, the Night of Photo 2010, OFFSETE- Images Documentaires 2011, Aspect Live - Maison de la Culture in Belgium 2012, OpenShow Swiss 2011/2012 Centre de la Photo Geneva, Festival Pierrevert 2013.

Her photography writing get richer due to her anthropologist look. She focuses on meeting, intimacy and she likes to work on the duration to testify of her present. She thus promotes a author photography oriented to documentary style made in analog technique. She works for ImageTemps, an ngo which sets up photographic cultural mediations in museum, workshops and cultural events in rural area.

This work has been made between 2005 and 2009.My approach was to look at what was lost - would be lost, would pass, or fall into disrepair, was - has been.

At the gates of Europe. Photography can bring these moments together, these parts, which witness an ever composing history. Here is reported what was seen and not what should have been seen.

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THE STORY OF JADE + Photography Photos: Ty Wright WEBSITE www.tywrightphotography.com

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Jade is a story about a working girl (prostitute) who works within the legal brothel system in the state of Nevada. The intent of this project is to let the viewer experience an intiment look into her life dealing with clientele she caters to in the brothel while struggling to balance her life in Orange County, California with her boyfriend, family and children. You feel what it's like to experience love, turmoil, and the struggle of a working girl who is trying to lead two different lives while working in legal brothels in Nevada.

We talked during an interview. I found her story so compelling. She is a mother of three children. She works in Nevada and lives in California, making the eight hour commute to work every few weeks. She spends two to three weeks at a time working in the brothel, not leaving the brothel except one a week to get tested for sexually transmitted diseases, which is required by law in the state of Nevada.

And, overall, she was a kind, caring individual who became my friend.

I met Jade while I was working on another project in Nevada.

The story was called The Loneliest Road in America. She was working a brothel called the Big Four Ranch in Ely, Nevada.

She was confident, exuding sexuality. When she walked through the brothel, the heads at the bar turned and stared at her as though she demanded the attention.

Nevada is the only state, in the United States, that allows legal prostitution with only 28 legal brothels currently operating in the state.

When I met Jade she broke many of the stereotypes of what I envisioned a prostitute to be. There's more to her than just sex.

She has happiness and sadness in her life. She struggles with relationships. She searches for love. She is made of flesh and bone. She is a person. She is my friend.

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CROSSING JORDAN + Photography & TEXT David Brunetti WEBSITE www.davidbrunetti.com

Bio

Crossing Jordan

David Brunetti is an Italian documentary and reportage photographer based in London.

Crossing Jordan is an account of the first moments of Syrians arriving in Jordan in the middle of the night and while the media is documenting their every step.

David’s personal projects are visual narratives gathered over extended periods of time that confront issues of human rights, migration, refugees, conflict and identity. With a particular interest in humanitarian issues affecting identity in (post) conflict situations David aims to capture images that will influence, leave lasting impressions, move and inspire.

David has worked with a number of organisations and institutions such as EveryChild, UNHCR UK and Doctors of the World. And recognition of David’s work has culminated in a number of awards, including Fujifilm Distinctions Awards, Foto8 Summershow, the Hasselblad Masters and the Taylor Wessing Photographic Portrait Prize.

As the civil war in Syria enters its third year, a steady stream of civilians continues to flood Jordan through official and unofficial border crossings as they flee ongoing violence.

Many feel safer crossing in the dark, but it remains a risky journey by day or night. The Free Syrian Army whisks them to the border. On the other side Jordanian army watchtowers keep a close eye on Syrian troop movement. The moonlight guides them as they walk among the sand and rocks.

They make their way by foot carrying what they can. It’s a dangerous and tiring journey.

The refugees arrive exhausted, scared and traumatized.

Bundled in their arms are infants swaddled in thick blankets, jars of olives, plastic bags and suitcases jammed with clothing and other odds and ends.

With their border ordeal over, exhausted families gather together in army tents as they wait for the registration process before they are transported to temporary shelters.

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Bread & Butter opening summer 2013 + Photography Petra Fantozzi Website www.Petra Fantozzi.com

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Berlin Fashion Film Festival 2013 + Photography NN Website NN

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+ Photography Petra Fantozzi Website www.Petra Fantozzi.com SHOw perret shaad

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Daks Spring / Summer 2014 + Photography Sara cimino TEXT ANAIS SERRANO

Daks’ show in Milan for the upcoming spring/summer 2014 was elegant and sophisticated, like the British gentlemen were (and still are) used to be.

Creative director, Filippo Scuffi, created a feeling of classic style thanks to the tailored suits, the iconic brand’s house check and the bulky handbags worn by the models, who seemed to be ready to spend a weekend in the smartest English countryside. All in a neutral palette of colors such as different shadows of grey, black, white and light green.

High quality combined with trench coats, open shirts, striped trousers and knit garments evoked the good old times of the past, when nobody knew the meaning of war. In fact, two violinists started the show and that gave a feeling of peace and calm. It really looked like Daks’ founder, Simeon Simpson, was somewhere between the attendees realizing how fast time goes by.

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ICEBERG Spring / Summer 2014 + Photos and text by Sara Cimino Translation Bianca Baroni

Arianna Pradarelli always knew what she wanted. “Obsessed” by the American Dream and determined to work into the world of fashion.

Arianna managed to realize both her expectations: in fact, she has been working as a casting director for many years, not only in fashion shows, but also in campaigns and in publishing activity throughout Milan and New York, London and Paris.

We met her in the backstage of the last male fashion show by Iceberg, in Milan, where she revealed to us some behind-thescenes activities and curiosities about her job.

-Arianna, we usually think about fashion shows linked to the name of the brand: but what about the insiders that contribute to the realization of the event?

This is a good question. Everyone always talks about brands and top models, but only few know about who really works behind a fashion show. I love to call them the “catwalk ghosts”.

They are the guys of the lights, music, videos, direction, the stylists and casting directors, that work closely with the main stylist: they all care about maintaining a coherence between the image of a collection and the mission of the brand. But not only: they basically realize that kind of event that lasts only ten minutes, but that has been built in a lot of time and with a lot of research. These are the ones that, to me, are praiseworthy.

-Which is your role, during a fashion show?

I’m the first to arrive and the last to leave. I’m a casting director, so I have to choose those models who fit to the specific image of a brand/collection. I usually look for personality, for a “strong” face, but “expensive and polished” too. We start with a casting, but gradually the number reduces to 20 or 30 models. It may seem easy, but, in the middle, there are budget negotiations, conflicts with other fashion shows that want the same model, etc.

In particular in Milan, I also look after a part of production that concerns many activities, such as the coordination of “timing” (when the models have to go out on the catwalk), the organization and direction of the backstage and, finally, as we say in our jargon, “to call the fashion show”: to put the models in their right positions in the famous “line”.

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-You are been looking after the male fashion shows of Iceberg: which has been the evolution of the casting in these recent years?

Wow, if I think about when I started this job, at least three generation of models have passed. I began when the ones I call “Dolce&Gabbana boys” were popular. Sam Webb, Noah Mills, Marlon Teixeira, Tobias Sorensen.. Statuesque bodies and great virility. But the current generation is the one I prefer. Body measures have reduced, faces are clean and we always look for “new faces”, making our job more creative, to me. I spend a lot of time on websites of fashion agencies, the most isolated ones, in tiny towns, in order to find that face that hasn’t been discovered yet.

-You live in NY but you look after fashion shows throughout the world: which differences have you noticed between the Fashion Weeks?

I feel it’s easier to talk about NY-MILAN because they are a little bit more different from each other. The first thing you notice in America is the respect, which is hard to find in Italy.

To me, Milan is still ahead for what concerns the quality of the collections and the Italian high design. It has been a great school to me, but NY gave me the possibility to grow and to start the project of opening up an agency.

-Routine question: who should we keep an eye on for the next season?

With no doubts, among the guys: Abel Van Oeveren, Guerrino Santulliana, Louis Steyaert, Alexander Ferrario. Between the girls, just to start, I’d say Elisabeth Erm, Sam Rollinson, Kate Bogucharskaia, Anna Ewers.

-What about your future plans?

During the year, I work as a freelance for various projects in my position of casting director, but I also work in photo shootings. The next project: end of August. Here in NY, precastings begin and thereafter, the intense month of a fashion week after another: London, Milan and, in the first days of October, Paris.

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ANDREA POMPILIO SS 14 + Photography SARA CIMINO TEXT Anais Serrano

Andrea Pompilio, a newborn Italian brand, launched its spring/ summer 2014 collection during Menswear Fashion Week at the Armani Theatre in Milan (via Bergognone, 59). The building was big enough to receive all the eager people who wanted to see the show of the young designer. And he made the grade because Pompilio hit the runway with colourful garments and mixed prints, such as stripes, animal print –snake– and paisley.

All this combined with tailored suits, trench coats, shorts and ankle-length trousers, among others. The truth is that so many different combinations regarding colors and patterns seemed to create the one and only outfit every boy and girl were walking on the catwalk. There is no doubt that his collection was a real gale of fresh air for Men’s Fashion Week, who brought to the fashion industry a new face that won’t be easy to forget.

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+ Photos by Giulia Venanzi website www.giuliavenanzi.com

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Giulia Venanzi was born in Italy in 1987. After she received a Bachelor degree from the Università della Tuscia (Faculty of Humanities), with a dissertation on Pier Paolo Pasolini's thought of new medias, she enrolled at the IED (Instituto Europeo di Design) in September 2010 in Rome. She spent the fall semester 2012 at the School of Visual Arts in NYC as an exchange student.

Déjà View Project grows out from the subjective vision of the places: Rome, New York, Frankfurt are reshaped by the photographer’s feeling and the public’s imagination and they wear original features in their everyday life. Perspectives and proportions between planes get mixed up, the rationale is left in favour of the construction of a personal world. The objective is the achievement of a “sur-reality”, in which dream and reality coexist: a non-lieu, where architectural volumes and tangible spaces assume new and oneiric meanings, in order to betray once and for all the belief of the photograph as a necessary testimony of reality.

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Circonvallazione Casilina, Rome, italy 2013

Piazza Flaminio, Rome, Italy 2013

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Piazza Vittorio Emanuele II, Rome, Italy 2013

Piazzale di Porta Pia, Rome, Italy 2013

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ostia antica, Italy 2013

palermo, italy 2013

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tiburtina station, rome, italy 2013

naplesa, italy 2013

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new york city, usa 2013

times square, nyc Usa 2013

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new york city, usa 2013

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new york city, usa 2013

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zeil, frankfurt, germany 2012

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marienplatz, munich, 2012

marienplatz, munich, 2012

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frankfurt, germany, 2012

frankfurt, germany 2012

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+ TERRA E TUMA "The problem must be solved.

Not “to do that” but “how to do that”.

Nobody thinks about how to make a city, just about how to make money”.

PAULO GOLDSTEIN “My work is a celebration of repair, so I’m always dealing with broken things, from a broken chair to a broken system.

Things break. That is a fact.

While this can be due to “wear and tear”, human flaw or even planned obsolescence, what if the problem is something not tangible, not made of a “material” thing?

What if the problem is a feeling made of a combination of broken things?”.

PROJETO COLETIVO “We think that the biggest opportunity is in competitions. We call this field “unrequested architecture”. The older guys are too attached to enter in a competition, so we have a lot of room there, even because 90 % of them are public and open, without any particular restriction”.

+ Eugenia Gotti Enrico Mancini Riccardo Del Fabbro Bianca Baroni The complete version of all the interviews will be published on www.positive-magazine.com

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THE DREAM

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"While in the US and in Europe the crisis gets worse and inequalities increase, Brasil is consolidating a stronger economic system and a more fair sociey”, writes N. Lehman on NY Times of 16th July 2012.

"Brazil doesn’t dream no more: after years of economic growth, the American giant is in the doldrums”, 22nd July 2013, Der Spiegel, Germany.

The economic miracle, which has crossed the country for more than twenty years, has created the deepest fabric of the society and of the Brazilian cities. The facility of the access to credit, the strong public aids (Lula 2002/2010) and the extreme flexibility in the brick market regulation are three factors that have doubtless brought to many investments and risen the standards of living for a remarkable part of the population.

The name of Brazil, in fact, is among the BRICS, the five countries with rising economies. Between the advantages produced by this transformation, we must touch on the raising awareness of the middle class –prerogative of few people up to ten years ago. The speed of this consciousness has introduced, with rough insistence, new themes in the political and ethic of the country: social inequality, lack of primary services linked to instruction and healthcare, uncontrolled growth of the property speculation and so of the balances of the cities.

MIND, BODY AND SOUL

Three cities. Three parts of the same Brazil.

So different but so in symbiosis.

Parts of the same big entity, so ample in its extension that seems difficult –to us, European people- to imagine it.

Three cities that are, for different reasons, the litmus paper of a country in search of its role in the global scenario.

Three cities that are the social, economic and decision-making poles of the nation.

Three cities that are trying to react to a crisis that is ongoing in a social structure which starts to grow a conflicted common sense.

SãoPaulo: the economic mind, the richness of Brazil. Rio de Janeiro: the vibrating body of the country. Brasilia: the soul, point of contention between progress and esotericism.

NO LEGACY On the occasion of the Confederation Cup (June 15th-21st), the first among the three big events hosted by Brazil, the protests have burst.

Ironically, it has tumbled the golden opportunity to take advantage of the funds, won for the organization of the three events to strengthen the (nearly absent) railway lines, the metro lines and provide with services those parts of the city that have sports complexes.

We can think about the virtuous example of London 2012: the redevelopment process of Stratford and the legacy –goal of the whole Olympic games project, have been completely neglected.

Emblems of it are the multiplication of the costs, due to delays and to the employment of European firms for the project management, the lack of sustainability, the building of a stadium in a which has not a football team. And maybe that’s worse than money waste.

Mark If, nowadays, the Confederation Cup seems compromised, Brazil is still in play, with two more goals: Rio 2014 and 2016.

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BRASIL infographics ticket stadium increase

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SÃO PAULO, the mind Brazil's mind, São Paulo, is today the country's chief centre of business and commerce. Architecturally speaking, although it wasn't supported by a clear urban plan project with a focus on the skyline or the integration, it has led the country's economic ups and downs, growing spontaneously when, where and how the circumstances permitted.

So everything, in the immense city, seems to be hugely harmonic. Its grey and concrete brutalism hides spots of lush tropical rainforest, a remembrance of what the whole city was like not so very long ago. For decades, the city's commitment to development consisted in demolishing old building rather than giving them a chance to become ancient.

The result is an architectural puzzle of variegated element that are hardly legible. "The city isn't in the hands of the architects but in the hands of builders" said Guto Requena, “they actually choose what the city layout will look like”.

The market lows are, anyway, an unwritten but straight regulation. In São Paulo they are quite simple.

Even if nobody drew a specific grid in order to take advantage of the whole area, as Manhattan did in the '50s, the rule of taking more advantage as you can, led the lots to have more or less the same little rectangular area and the same impressive height. This relation, once more, is dictated by the convenience of the price.

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+ Eugenia Gotti Bianca Baroni

We can assist to a style exercise that required the architect to give different solution at the same unbalanced rectangular extrusion.

The repetition reaches an unexpected interest. Often, the fill/ empty rhythm on the facades is designed without considering how many floors there are: one or one hundred doesn't count at all. That one who seems a syntactic error, a mistake in The Matrix, Neo-like speaking, reaches so gigantic dimension that it could obtain the importance of a style itself.

Every variation focuses all the attention on it, and most of the time becomes the reason why we can read a dramatic tension behind that architecture.

As in a Philippe Glass composition, we are waiting for the theme variation with the same expectation we feel when waiting one more window.

At the same time, during São Paulo's symphony, there are some pauses. The emphasis with whom the SESC Pompeia by Lina Bo Bardi or the Brazilian Museum of Sculpture by P.M. Da Rocha stand up, depends on a silent density absence.

Unfortunately (or not?) the economic evolution and time trend are meaningfully faster than the architectural one, that means that there is a fragile equilibrium. Probably, with a more constant market and a firmer building regulation, São Paulo could find another way to show its skills.

+ AREA RESIDENTS area 1.523 kmq population 11.253.000

+ stadium Arena de São Paulo cost 230ml £ capacity 65.000

+ SKYLINE altitude 760 m

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+ S達o Paulo, the mind PROJETO COLETIVO "We believe in sustainability, not just in energy but in an altruistic way: architecture must create more than what it consumes in terms of opportunity for people".

TERRA E TUMA "Sustainability for us is a kind of system that makes a project more intelligent".

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+ Terra e Tuma Maracan達 House S達o Paulo 2013

+ Paulo Goldstein Repaired Headphone 2012

+ Terra e Tuma Maracan達 House S達o Paulo 2013

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+ Paulo Goldstein Repair Anglepois 2012

+ Paulo Goldstein Repaired Director's chair 2012

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RIO DE JANEIRO, the body According to Schopenhauer, the body, in its essence, is both “will to live” and what surrounds the body itself, or what we could define as “material objects”, nothing other than the “objectification” of will.

In this area of research, among the cities we chose to consider, Rio de Janeiro is the one which gets closer to this definition.

If we think about Brazil, the first things that come to our minds probably belong to Rio: Copacabana beach, Christ the Redeemer statue, located at the peak of Corcovado mountain, the Sugarloaf Mountain and so on.

This unconscious effect of linking the idea of a place to a visible image may be connected to the simple fact that Rio de Janeiro offers a vastness of “spots”, unique and different, typical of the landscape and the nature of that latitude.

The morphological structure of the bay is what makes possible such a diversity of landscapes.

But it is all made captivating by the different viewpoints you can get from the metropolis. The impression is that the image we can look at from the sea toward the bay is not inversely proportional to the view we obtain once arrived in the city, for what concerns the surrounding nature and the horizon.

If we arrive in Rio by sea, we face a very dense and variable body, a mixture of nature and human intervention.

The idea of prominence –or, more generally, of size, of measure- loses its value because we can’t recognize what is natural and what is artificial, we can’t understand the urban nor the natural sides. Everything appears strictly connected, the different and complex spots of colour combine themselves

+ SKYLINE altitude 0/380 m

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+ Riccardo Del Fabbro Bianca Baroni

and swallow one with each other, giving an effect which is opposite to the initial one. We face a huge material mass, in which the single components are visible but working also as a homogeneous whole. This is the impression this metropolis might give from afar, sustained by a natural amphitheatre made by mountains and woods. Urban BLOB versus natural BLOB. Our perception changes, once entered into this “organism” with many parameters. Every habitat doesn’t communicate with any other, the urban scars, the architectural monsters and the polluted nature fragment the city, making it all but harmonious. These wounds in the morphological urban web set on criminality, poverty, enlarging the social gap. All at once, we find ourselves in an urban landscape where we can admire other fragments of outlook, the wide perspectives shrink into tiny optic cones that emphasize the environments and their problems.

The greatness, both of the natural and artificial area we have perceived from the sea toward the bay, crumbles.

Now, we are hostages of a sentiment of the irrelevance of individuals within this heterogeneous mass. Those movements, actions, the daily life that happen in Rio, that we could consider as active, seen from outside, now, lived in its roads, streets and squares, seem to be passive: not because of their quality, but due to the comparison with the great power and influence of what surrounds them. All of these emotions, feelings, contrasts, and horrible injustices too, make this metropolis even more fascinating and involving.

+ AREA RESIDENTS area 1.264 kmq population 6.320.446

+ stadium maracanã cost 320ml £ capacity 83.000

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+ RIO DE JANEIRO, THE BODY TERRA E TUMA "The event can be the nicest: in a way we will be prepared to do it but in the other way we are really missing the opportunity to create a legacy for our cities, to integrate and to make them better places".

PAULO GOLDSTEIN "I can’t repair the whole system or social structure and I can’t affect it in the same scale that they affect me, but I can make pieces that reflect the environment that created them and question our society as a whole".

MK27 "Rio is irresistibly beautiful, sexy and fun.

But it will never be our business card.

That is São Paulo".

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+ Studio MK27 br house Rio de Janeiro 2002-2004

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BRASILIA, the soul Brasilia isn't what you'd expect. Certainly it doesn't look like the western stereotype of a Brazilian city.

First of all it's not on the seaside, but it's half the way between the Atlantic coast and the Mato Grosso.

It's not colourful and boisterous, except for cars, and least of all bounded with lush sub-equatorial greenery.

In a wider meaning, it's the opposite of it all.

It the strict sense of the word it's not a spontaneous city. It was conceived and designed on the paper, pure expression of the modernist movement: functional, rational and neat. As such, it had to grow out of a tabula rasa. As any sizeable foundation of a nation's capital city, the choice of the place where to build it's pervaded by a mystic aura that surrounds the city even today.

In 1883 a futuristic metropolis appeared in a dream of the Italian priest Giovanni Bosco, founder of the Salesian brotherhood; he prophetically declared the right spot, adding that there, out of the ground, unimaginable richness and “gigantic fruits” would have grown. If Don Bosco erected himself as an ancient roman àuguro, Lùcio Costa and Oscar Niemeyer later played the role of a Brazilian Romolo.

The founding gesture, with bulldozers instead of a plough, has been the draw of an enormous cross, with the head directed to east, and feet to west. The monumental axis and the rodoviario axis, the ancient roman Cardo and Decumano.

Who knows if Don Bosco's dream guided Costa's pen while he was drawing, and who knows if the only concession left to the surrounding's nature, the arching of one of the two axis following the hill's landform, was a choice that was desired, tolerated or suffered. Perhaps his modernist being prevailed his spiritual ego, and he preferred a more functional aeroplane, instead of a holy cross. At the same time being a convinced communist has certainly affected Neimayer's extreme rationalism, we can say almost dogmatic, designing the sealed sectors of the city. A series of affluent, that never cross each other (it was supposed to be a traffic

+ SKYLINE altitude 1172 m

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+ Enrico Mancini Bianca Baroni

light-free city), flank the tracks of the two main axis, forming a bigger river bed. In between these huge car streams, the big neighborhoods: the hotels sector, the commerce sector, the ministry sector, the nightclub sector. At that time everyone believed in progress and future, deeply and intimately.

On the one hand those were the 1950s, shortly everyone would have a job, a television and a car. For that and other reasons Brasilia wasn't, and never will be, a pedestrian city.

Brasilia is a transplant of the progressive belief system in the deep Brazil existing tissue, where esotericism, mysticism, African rituals, Catholicism, Evangelism, religiao total, and countless other creed, faiths and religions were deeply rooted.

Brasilia is the attempt of building a new, big unifying church, founded on the modernist liturgy, professed by high-priestarchitects behind their white, gigantic altars; bringing the Word to the lost masses. In the gods of ordem and progresso, in institutions, in bureaucracy and State, dogmatically, you have to believe. This titanic, Latin cross, cathedral-like layout have only one weakness: its vault is the sky, the immense, subequatorial, central Brazil sky. The establishment buildings, placed at a respectful distance, only fulfill their monumental nature standing out, in an exquisite composition, against the azure and creamy background.

That's Brasilia's true beauty.

The wideness of its horizontal morphology arrange the city in the landscape as a magnificent frame for the constantly changing show of its indigo sky, making all of mankind's totalitarian and standardizing ambitions, look like little accidents of a tremendously older story.

+ AREA RESIDENTS area 5.801 kmq population 2.562.963

+ stadium Estadio Nacional ManĂŠ cost 700ml USD capacity 70.000

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+ BRASILIA, THE SOUL TERRA E TUMA "For us it is a winning bet for two reasons.

First of all because it is unique. Second reason: people who live there love the city".

PROJETO COLETIVO "I entered in Brasilia for the first time during the first year of the college and I had the feeling to enter in the Darth" "Fener's headquarter. It is like a monument".

MK27 "We love Brasilia and it was definitely a winning bet in terms of building for our country a symbolic imagine, a sense of identity and pride".

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+ Studio mk27 Osler house Brasilia 2004-2006

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+ Photography Giacomo Cosua Model Graham Reese @ Red Model Management Styling Adam Harrison Location Williamsburg Brooklyn NYC

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+ Jacket by Paul Smith Button down by Paul Smith Trousers by Carven Boots by 3.1 Phillip Lim Beanie by The Elder Statesman

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+ Jacket by Paul Smith Button down by Paul Smith Trousers by Carven Boots by 3.1 Phillip Lim Beanie by The Elder Statesman

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+ Jacket by Paul Smith Button down by Paul Smith Trousers by Carven Boots by 3.1 Phillip Lim

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+ Blazer, Trousers and boots by 3.1 Phillip Lim Beanie by Rag & Bone

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+ Jacket and Trousers by Carven Button down by Edun Boots by 3.1 Phillip Lim

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+ Blazer by Pierre Balmain

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+ Jacket by Duckie Brown Sweatpants by Rogan

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It’s sunday in Bushwick + Photography Giacomo Cosua Model tucker des lauriers @ Re:quest model agency Styling by Adam Harrison

+ Jacket and button down, vintage courtesy of What Goes Around Comes Around Shorts, model's own Belt by Rag & Bone Necklace by Giles & Brother Shoes, model's own

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+ Jacket by T by Alexander Wang T shirt by T by Alexander Wang

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+ Button down vintage, courtesy of What Goes Around Comes Around Necklace by Giles & Brother shorts model’s own

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+ Jacket, Vintage courtesy of What Goes Around Comes Around Shorts, model's own Best by Rag & Bone Necklace by Giles & Brother Shoes, model's own

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+ Jean jacket, vintage courtesy of What Goes Around Comes Around Button down by Rogan Necklace by Giles & Brother

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+ Button down vintage, courtesy of What Goes Around Comes Around Shorts and shoes, model's own Necklace by Giles & Brother

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Sleeping Beast + Photography Dana Scully Website cargocollective.com/darascully

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Sleeping Beasts is a travel, a poem, a tale.

The project explores the children’s world, that special and disturbing world, in which innocence and desire, cruelty and tenderness, are so close.

Dara Scully. 1989. Spain Graduate in Fine Arts and self-taught photographer.

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Redhead Festival + text Alex Troesch photos Alex Troesch, Aline Paley Bios Alex Troesch and Aline Paley are two photographers originally from Switzerland and based in New York since few years now. Their work has been feature in publications such as Le Monde, Time Lightbox, El Pais Semanal, Courrier international.

Aside from their collaborations, they both work as independant commercial photographers specializing in portraiture reportages and fashion.

You can see more of their work at: www.alextroesch.com www.alinepaley.ch

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Redhead Festival in Breda, The Netherlands, September 2013.

No one in the enclosure is allowed to move. Everyone is waiting for the man in suit to give the results. After a few minutes, the official numbers are given: the world record for the largest gathering of redheads has just been broken, 1672 redheads in the same place at the same time.

Everyone is cheering and posing for the photographers who immortalize the moment. The annual Redhead Festival in Breda, in the Netherlands has just begun.

All the participants then split into small groups and scatter across the center of the small town to participate in all the different activities the festival has to offer: fashion shows, photo shoots, lectures, dance classes, painting sessions, pub crawls, concerts, etc... Everything is aimed specifically at red-haired people. The first edition of the festival took place in 2005 and has grown exponentially. Today it attracts people from all around the world. Great Britain, Ireland, Germany but also Canada and for this year’s edition, the participant coming from the farthest country was from New Zealand.

On that weekend, the streets of Breda have taken on a different vibe and color. “It is usually much easier for me to find my sisters in a crowd when we get lost, I just have to look for a red-haired silhouette to find them but today it is a bit more complicated” ironically says Nelly a participant from the Netherlands.

In every corner of the small town of Breda, festival-goers exchange ideas and stories in recognition of their own identity and celebrate their particular feature in a laid back atmosphere. But it isn’t always this way.

Still today lots of redheads suffer from bullying. Discriminating ideas like associating redheads with a fiery temper for example are also very common.

In 2007 some news organizations reported that redheads could become extinct within a century basing their assumptions on a controversial study. But the foundation who conducted the research didn’t provide sufficient scientific evidence to prove its findings.

Still, redheads remain rare, only 1 to 2 % of the world’s population, and only 4% in Europe. The gene responsible for red hair is a recessive trait, easily dominated by the genes for other hair colors.

That day in Breda, the singularity and the differences of the redheads were celebrated and became the time of a week end the ordinary. This gathering definitely raises the question of the concept of norm. We wanted to confront ourselves to this concept and photograph those festival-goers in a simple and straightforward way.

New York 2013

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Miles Langford + Photography Marcel Castenmiller website www.marcelcastenmiller.com MODEL MILES LANGfORD @ NEW YORK MODEL MANAGEMENT THANKS TO Christophe Sanchez-VahlE

Hey Miles, how are you?

Hi, I'm very well thank you, just arrived in London for a couple of weeks.

Can you tell us a bit about you?

I'm 23, originally from Watford just outside of London and I now live in NY with my fiancĂŠ and our 2 dogs.

How did you start modeling?

I started modeling on my 21st birthday, got scouted in covent garden and been doing it ever since.

Do you think that fashion industry still has to work more on his ethic side of the business, for example trying to avoid any testing their products to animals?

Yeah totally, especially as there is other ways for products to be tested that doesn't involve living organisms. Hopefully with time that will change.

Why did you decide to fight for animal rights, in particular against dogs vivisection?

After owning a beagle for a year we discovered the beagle freedom project and that really opened our eyes to how badly dogs where being Mis treated so we decided to become a part of it and now frequently donate and try and use whatever influence we have to raise awareness.

What can people do to finish this, what's your way to fight against it?

Just support one cause and dedicate a little time to it, and if you can't be hands on involved then try and help fund people that can be. Every piece of awareness helps so it all counts.

With any luck it will be ended soon!

Thanks

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#12

DIFFERENT VIEWS AROUND THE WORLD

Against Vivisection an interview with Miles Lang ford

www.positive-magazine.com

Cover by Marcel Castenmiller