No XLIV Reid Thompson Photographed by Frank Louis

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Masthead 004 Contributors 006 Forward 008 010 Reid ~ Frank Louis Bluemint Goat Mug Beat Kind Gnomr & Bow Dior Homme Dermo System Nordic Beard Factory The Woks Of Life Filippa K S/S 16 Apostopae UO Smart Beam Adidas Wall Writers Keiko Fukazawa Sleeping Card RH X Van Thiel Marmol Radziner Brutalist Architecture

018 020 022 024 026 028 030 032 034 036 038 042 046 050 054 058 062 066 Keiran ~ Inked Kenny 084 Leonardo & John ~ Wander Aguiar 092 Joel ~ Thomas Synnamon

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photography INKED KENNY model KEIRAN STEWART

photography WANDER AGUIAR model JOHN DEWALL

photography FRANK LOUIS model REID THOMPSON

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photography THOMAS SYNNAMON model JOEL GREASLEY

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Editor-In-Chief/Creative Director WILLIAM MONTALVO William@Satellite-Mag.com Managing Editor R.E. FISHER Richard@Satellite-Mag.com Art Director BOX808 MEDIA Info@Box808Media.com Photogaphy Consultant RACER MEDIA INC. RacerMedia.com Special Correspondent ADDISON DE WITT Addison@Satellite-Mag.com Copy Editor ANNEMARIE MAES AmmemarieMaes@mac.com President R.E. FISHER Richard@Satellite-Mag.com Interns LONDON SILVER PARIS STUDIO CABO SHERMAN intern@Satellite-Mag.com

SUBMISSIONS We are always looking for new work. We accept submissions. If you would like to be considered as a contributor please send writing samples or images to Info@Satellite-Mag.com SPONSORSHIPS & SPECIAL PROJECTS Please send your requests to Sponsorship@Satellite-Mag.com HEADQUARTERS 600 S Curson Avenue Suite 423 Los Angeles CA 90036 USA Satellite-Mag.com FOLLOW facebook.com/satellite.mag instagram.com/satellie_mag twitter.com/SATELLITEonline satellite-Mag.tumblr.com

Satellite® is a registered trademark of BOX808 Media, LLC and used in Partnership with BOX808 Media Companies. Copyright 2012 by Satellite ©. All rights reserved . No part of this publication my me reproduced or transmitted in any form without permission in writing from Satellite. Satellite makes every effort to ensure accuracy of the information it publishes, but is not responsible for unsolicited or contributed manuscripts, photographs, artwork or advertisements. Satellite is published bimonthly by BOX808 Media Los Angeles, CA.

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084 LEONARDO WANDER

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After more than 20 years of working in styling and creative direction for fashion and commercial clients, Toronto-based Kenneth Koon moved behind the camera in 2008.

He has since established himself as an in-demand photographer with a distinctive vision—one that most often finds its expression through his ongoing exploration of the male body. Drawn from the communities of Canadian and American cities, the men that he shoots reflect a mixture of confidence and passion, strength and sensuality, captured in bold images whose technical assurance and dark beauty provide the foundation for their power.

Brazilian-born WANDER AGUIAR has always been fascinated with people and the art of photography; he got his first camera on age 12 and started shooting his family members on vacations trips.

Frank Louis quit his high paying and successful corporate job to pursue his life long passion for photography. “At some point you realize enough is enough; life is too short and you have to follow your dream”.

Thomas Synnamon is a New York, New Jersey based photographer with a passion for simple, yet bold, photography. Inspired by some of the greats, such as Richard Avedon, Robert Mapplethorpe, Paolo Roversi, and Steven Klein,

“Walking away from financial security into the abyss of freelance photography was very scary but the best thing I ever did.”

He challenges myself to let his imagination prevail in the balance between creativity and technique. Thoma’s main work is fitness and fashion with a slightly edgy aspect,

His work has been seen in solo exhibitions in Ottawa and Montreal and group shows in New York City and Toronto. He is currently working on a solo exhibit in Chicago. His work and creative process is the subject of Through the Lens of inkedkenny, a 2012 documentary short

by German directors Denize Galiao and Marie Elisa Scheidt. Produced in partnership with the Hochschule für Fernsehen und Film München and Canada’s L’institut national de l’image et du son, the film has been widely showcased on the European festival circuit.

Four years after that he was discovered as a model and since than has done many runways and appeared in many campaign. Graduated as a Civil Engineer with eight years of experience on that field he decided to quit and become a traveler.

On visiting California in 1998 he immediately lost his heart; he now lives San Diego and dedicated his time on his old passion working on the another side of the camera a welcome change as you can see on his fine portfolio.

Wander says: “ I try to use my experience as a former model to bring the best on each one I work with, be a model is beyond to have a beautiful face you have to perform and show a different personality/ attitude no matter what you have on.”

He currently works for the top modeling agencies as well as the best hairstylists in NYC and his work has appeared in many magazines. His inspiration comes from fashion and music. He resides in the West Village of NYC with his husband of 24 years.

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He enjoys experimenting with lighting to create some drama, He is a self-taught photographer, and he approaches every project with the same objective: to create something beautiful.

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We are excited to bring you the latest edition of Satellite Magazine. A Men’s lifestyle and culture publication filled with style and design. From a new cool way to travel with your coffee with the Goat Mug to the extensive collaborations with Adidas. Art and design is a big part of this and every issue we bring you. We have Photographer Gerd Ludwig’s photo project Sleeping Cars, Sculptures by Keiko Fukazawa and the Movie/book Wall Writers. There are some great new men’s jewelry designs coming from architect firm Marmol Radziner.

We feature some terrific new gadgets from Alise and UO Smart Beam. These are just a few things this issue has to offer. We hope you enjoy it as much as we did.

Satellite Magazine.

Enjoy!

William Montalvo Editor-In-Chief

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REID photography FRANK LOUIS FrankLouis.com IG franklouisphoto T franklouisphoto stylist DAVID GOMEZ PEARLBERG IG dgomezpearlberg model REID THOMPSON IG: reidonk grooming LEGEND RIVERA IG legendmg fashion TIZIANO ZORZAN IG tizianozorzan

jacket David Gomez

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sweater DOLCE & GABBANA pants & shoes HUGO BOSS belt GUCCI

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luemint is a premium beachwear brand that captures the unique, memorable moments in life with effortless style and comfort. Enjoy with family and friends the magic of long mediterranean summers - share in the tailored clean aesthetic, attention to detail and international timeless appeal.

Bluemint was born 4 years ago by Dogu, after his search for all day, easy to wear summer clothes - travel poolside to bar in style with no need to change. “Enjoy life in style and escape with Blueprint”.

Their collections ar inspired from real life experiences, different lifestyles, art, travel and photography. The Bluemint brand is an indispensable part of life extending from the beach to the city. Bluemint’s expertise in fabric and design its attention to colour and outstanding quality brings together one of the world’s best beachwear brands to be worn in style and comfort for many years to come. Each collection is created to carry your own style from the beach into summer. Thanks to its durability it can be worn for years to come, creating your own fashion each season.

Show is their Arthur Cascade swim trunk. Each swim shorts are made with the utmost attention to detail using timetested methods of construction and finishing. Using the knowledge and experience, we’ve gained throughout our history, we’ve created a swim short that fits just right.

Chlorine and salt water test, innovative Italian Fabric that is water-resistant, quick drying and soft to touch.

Bluemint.com

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owadays, life is just like one big rush. Keeping up with rapidly moving innovation we almost need to run to keep feeding our growth. That requires a lot of energy, so no wonder some coffee is a very necessary boost - and we barely have time to even make one! Luckily, the technology keeps pace with it by offering the best solution, shaped into The GOAT Mug. The project was supported by more than 10.000 people on Kickstarter earlier this year and it’s available for purchase now.

So, rush is actually fine. It’s just the new way that pushes the human race forward. A nice fact though is, that you can now even take time for a comforting treat during those hectic moments. To just pour coffee in this trendy horn-shaped Mug and enjoy every moment of this exquisite beverage.

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Devoted to trends and technology we surely pay great attention to the innovation we consume. Being constantly on the go, we grasp for a solution tailored to suit our exact needs. GOAT Mug is a great fit for those lifestyle desires. A trendy solution, crafted into goat’s horn brings a whole new dimension to coffee drinking. Unique in so many ways, it’s 100 % leak proof, dishwasher safe and most importantly - it keeps coffee warm for up to 2 hours! With specially designed holder you can easily set it down anywhere and focus on your tasks, while holding a phone for the next meeting call. Or just take a bike and drive along with your Mug, thanks to its cross body strap.

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hen you add two Cologne boys together who are rooted in Hip Hop music and addicted to the beats of the urban spaces they are living in - you get BEATKIND. When Sam Freeze and Mo Digital met at the library of their university, they were both producing music separately in their student living rooms. Now they have collaborated and are producing music from a shared studio space in the heart of the open-minded and lively center of Cologne city. Through their different personalities they are able to combine rationality with passion, creativity with a sense for detail and excitement with tranquility.

All of these attributes are reflected in the emotional joyride which is their music. You never know what BEATKIND might come up with next!

Well we do and it’s their anticipated new single ‘Undergrowth’ featuring the vocal talents of rising Texas star Sean Bradford via fêted house label Hedonism Music. Complete with stellar remixes by London party wizard Zombie Disco Squad aka ZDS aka Nat Self and Italian house legend Simone Vitullo, ‘Undergrowth’ is all about old school house music, the way it is meant to be. No gimmicks just pure aural bliss.

Kicking off with Beatkind´s original mix, ‘Undergrowth’ is an electronic masterpiece bursting with a rolling bassline and an outstanding vocal display by Sean Bradford that builds into a killer breakdown.

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The Gnome represents the element of fantsy while the bow sybolises the mark of class. Together, the harmony of these elements guides them in their design pholosaphy, Drawing inspiration from the classics to tales of fancy, they develop story elements that are imbued seamlessly into their goods. As with reading a book for the first time, exploring their products will uncover subtle and clever detials that reveal a story you will find familiar, but with a modern swist. Their collection of bags, wallets and small leather accessories are designed to be the perfect companion for the descerning individual.

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nome & Bow was founded on the notion that bags can go beyond functionality to become a medium for storytelling, evoking the same emotions as your favorite stories. “Stories are the fabric of memory which make life entertaining and unexpected. Fairytails and folklore speak a language that is both universal and immortal, trascending the barriers of age and culture.

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The Dior Innovation Center presents the Dior Homme Dermo System, it's the first dermatological treatments designed exclusively for men. Created in conjunction with the Harvard Medical Center, Dior Homme Dermo System offers the latest in skin care technology. Housed in an ultra-chic black and glass bottle designed by former Dior Homme menswear designer Hedi Slimane, this quick-absorbing soothing fluid moisturizes, mattifies the skin, and instantly refines its texture. Apply daily, morning and evening after cleansing. The Benefits to the skin is moisturized and matified. The complexion is uniform and bright.

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ordic Beard Factory was founded in 2015 by Per Lund in Copenhagen, he actually started it all because he could not get hold of a mustache product that he was happy, so he decided to make his own back in 2014, however, for his own consumption. So suddenly, crime novels and Viking novels, were replaced with reading on natural oils and their beneficial properties and anti-inflammatory properties and molecular active ingredients similar to sebum in the skin, indeed, could even give his venninder skønhedstip ;) so after all the research and finding the right ingredients, Per made up his mind that it was time to be mixed, he bought the oiler, so ingredients were mixed and blended, scented and scented, tried and tested, at home in his kitchen. And as luck would have it, Per participate in a Viking movie, which gave him good access to some bearded men, He says “at the time they were sick and tired of me and having them be my guinea pigs” .... Since he is not in favor of animal experiments, they had to walk the plank, but it soon turned out that it was the same people (Vikings) who begged for more of his beard oil.

The product was now well and tested (the Vikings) and himself that Per was 100 percent satisfied, because he could now have a longer beard without itching and irritation, plus it was so incredibly well received, Per was advised to put it into production which then became Nordic Beard Factory, but before that, he contacted one of the best consultants and advisors, who then tested his product through in his lab and got it was approved for sale in the EU, according to their strict demand for cosmetics manufacturing, and well, then smoke it on the “positive list Green Shop” from the Danish Energy Agency in Denmark for products without additives, or harmful substances. Nordic Beard Factory products are now in stores in Denmark, Sweden, Finland and Scandinavia’s largest web shop made4men.dk. A Viking story that became a reality.

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he Woks of Life is a site for anyone looking to try their hand at Grade A authentic Chinese cooking and many other great recipes, Asian or otherwise. Whether you’re a noob with an interest in going beyond Cream Cheese Wontons and Sesame Chicken, a college student with a drawer full of wrinkled take-out menus and only rudimentary knowledge of how to boil an egg, a suburban looking to make weeknight dinners a little more interesting, or just a fellow foodie, you’ve come to the right place. The team of four have been cooking and serving meals for a combined 139 years.

The following is their amazing grilled ribeye with soy butter glaze Steak and soy sauce, in spite of its stereotypical connotations, is still one of the best flavor combinations out there.

So what do we do? In traditional steak house fashion, where they often douse a finished steak in melted butter, we decided to do a thick-cut, bone-in grilled ribeye steak with a soy-butter glaze. The glaze is brushed on over the grill and served alongside when you’re digging into a glorious, perfectly caramelized, ever so slightly charred steak.

Soy sauce and butter has a well-loved history on this here food blog, and this grilled ribeye recipe upholds this glorious, umami-laden flavor combination.

You’ll need: 1 thick-cut ribeye steak Salt and pepper to taste 3 tablespoons melted butter ¼ cup low sodium soy sauce If you’re using a frozen ribeye steak, make sure that it’s thoroughly thawed prior to cooking.

Rinse the steak under cold water and pat dry with paper towels. Sprinkle on all sides with salt and pepper, to taste.

Heat your grill to the max heat–that means at least three of the burners on full blast high, and keeping the lid closed for a good 5-10 minutes.

Mix the melted butter together with the soy sauce in a small bowl.

When the grill is heated, put the steak on the grill, letting it brown for about 1-2 minutes. You can close the grill lid to let the heat build up and get some nice caramelization on the edges of the steak. After 1-2 minutes, turn the steak 45 degrees to get those pretty grill marks. Let cook again for 1-2 minutes. Flip the steak and repeat the above steps for the other side.

When the steak is pretty well-browned on both sides, use your tongs lift up the steak and brown the edges. Thick cut steaks need TLC on the edges too! Now for the soy-butter glaze. Liberally brush the steak with the soy-butter mixture using a heat-proof basting brush. Flip the steak and brush the other side. You may want to wear an oven mitt for this process, as the butter may cause some fairly strong flame-ups. The glaze will make the steak perfectly caramelized and charred on the outside! Those grill marks we worked on earlier add the perfect uniformity of char and color!

Liberally glaze the grilled ribeye continuously until it’s cooked to your preferred doneness–rare, medium-rare, medium, etc; this translates to grilling the steak for an additional 3-5 minutes for medium-rare, 5-7 minutes for medium, or 8-10 minutes for medium-well, though this does depend on steak thickness. A better test for doneness is to poke the steak gently with the tongs. The squishier it is, the rarer your steak will be. More firm means more welldone.

Remove the steak from the heat and let rest for 10-15 minutes. It’s a long time, we know, but it’ll all be worth it when you cut into your steak and skip the lake of beef juice that escapes onto your cutting board!

Serve with additional soy-butter glaze on the side (you can make a fresh batch or reheat what you used to baste the steak–remember that you basted the steak once it was cooked on the outside, so it’s safe to consume post-grilling).

We served our grilled ribeye with a little roasted garlic on the side. Optional, but highly recommended!

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unctionality may be the most over-used word in menswear but that doesn’t make it any less significant. We all own a layer that has stood the test of time, not solely for its looks but for its usefulness, be it the perfect water-repellent coat or that pair of trousers with enough pockets to be considered a chest of drawers. With this in mind, Sweden’s Filippa K title its Spring/Summer 2016 collection “Understated Utility,” taking a lightweight approach to practical detail.

Here the brand mixes its trademark understated aesthetic with elements of sports and technical detailing; bonded linens, coated cottons, internal straps, pack-away hoods and clever pocket placement quietly applied to a range of casual suits, crisp shirts, round hem shorts, slim trousers and modified classics including the parka, baseball shirt and trucker jacket.

A perfect palette of navy, white, grey and sand are interrupted by soft pink, light denim, teal and a particularly pleasing wide stripe in monochrome shades. A stand-out selection from Fillipa K, the brand make a convincing bid to become your new favorite, old favorite.serif.

Opposite: A classic spring coat that adds a sense of sharpness to any spring look. Water repellant bonded cotton material with two slanted welt pockets, and two seam pockets that allow access to your jacket underneath. Sharp three button hidden front placket for a clean look and vent in center back.

Opposite: A sharp sweater with a crisp look. Half Milano Knit, which has a clean flat look to it, in a Viscose/Nylon mix. Regular, slightly relaxed fit with a sharp triple layer neckrib. Triangle detail at front, reverse linked seams and clean edges at cuffs and bottom with a modern look. A formal, slim fit shirt in a compact cotton. Sharp and comfortable, this subtly striped style has a wider cut away collar This page: A sharp contemporary sweater in a slightly oversized Pique knit cotton. Regular fit over the body and sleeves with a tight neckline in double rib, rib at cuffs and a graphic half moon shaped back piece.

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the Alessi “Apostrophe” is an unusual object, designed by Gabriele Chiave, that does not reveal its function at first sight. Actually it works very simply: everyone knows that to peel an orange you need to cut the peel along meridians and parallels.

The hooked cutting edge does precisely this, and its size determines a depth of cut that is attuned to the thickness of the peel and which does not nick the flesh. It works like an agile plough to cut through the peel, leaving marks that are free and even decorative.

Gabriele Chiave was born in 1978 in Metz. Two years later he moved with his family, spending 4 years in Dakar, 5 in Caracas, 2 in Buenos Aires, 3 in Rome ,where he completed his French baccalaureat diploma, and then 9 years in Milan where he studied Industrial Design at IED, participating and exhibiting during he’s studies in projects such as Emergency, Rotari, Epson,Toshiba and Pirelli. In 2000 he started working for several design studios, such as Syn design, Fabio Rotella, and Lorenza Bozzoli. From 2003 to 2006 he worked in Marc Sadler’s studio being part of the Ideal Standard European research center, but also working with several renown design companies such as Dainese, Foscarini, Serralunga. From 2002 till 2006 he assisted in the organization and development of 7 Workshops held by LPWK/ALESSI, together with the Alessi team and international designers, in order to develop new typologies and meta-projects for the company. Since beginning 2007 he moved to Amsterdam as head of the design team for a design firm working for international renowed design companies.

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UO SMART BEAM S

o you're in the market for a pico, or mini projector. Usually you're stuck having to choose two of the following three: high-resolution, reasonable brightness and small s47ize How do you even decide? You don't want a novelty projector toy, a glorified flashlight or a projector that’s just too large to bring around. You just want a mini projector that can beam a decently bright image in high-definition.

Is that too much to ask? Not with the UO Smart Beam Laser An HD pico projector actually worth using.

The cube uses laser diodes to drive the advanced LCOS engine. This means that you get a screen that is actually bright enough to use in real life. Combine that with real 720p HD projection and you have an awesome picture that is both bright and sharp, every time.

Be immersed into your favorite movie or TV show with native 720p HD resolution.

Enjoy crystal clear images and vibrant colors with UO Smart Beam’s advanced laser driven LCOS technology.

Never worry about cumbersome manual focus adjustment like other portable projectors. The UO Smart Beam’s advanced laser diode is focus-free; it stays sharp, every time. We've produced industry-leading clarity using Class 1 lasers, safe for your eyes.

Connect wirelessly to many devices by screen mirroring or media casting, or connect your favorite smart phone, laptop, tablet PC or other mobile device using the built-in HDMI port.

At only 2.2 inches, the UO Smart Beam Laser is the world's smallest LCOS-based laser HD pico projector. Throw it in a bag and take it with you wherever you go to have over 100 inches of crisp HD video from a mini projector.

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There are few sneaker brands who have mastered the concept of collaboration as well as adidas. We examine the different aesthetics that are characteristic to each partnership. photography LOU ROLLEY stylist SAMUEL SMITH art director PIERRE YVES-MORVAN set design BRYONY EDWARDS p .

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efore artists such as Banksy and Shepard Fairey became household names, there were graffiti pioneers who were responsible for adding such things as the first ever crown or arrow to their moniker beginning the evolution of style.

Wall Writers: Graffiti in its Innocence is a documentary film and 350+ page companion book. Both film and book were conceived and directed by Roger Gastman. Legendary filmmaker John Waters narrates the documentary and the book’s forward is written by acclaimed artist Barry McGee. Graffiti and street art today are largely considered the rock n’ roll of visual art, and Wall Writers is the story of its birth from Philadelphia and New York City during 1967 to 1973. Wall Writers is an exclusive account of the beginnings of the largest art movement of the Twentieth Century. No one has been able to tell this story until now, because no one could get complete access to the full cast of the movement’s originators featured in this film. Most of these artists have given their first ever on-camera interviews for this project. Wall Writers offers a once-in-a-lifetime look at the origin of graffiti and street art that continues to capture the imaginations of young people the world over.

Wall Writers explores graffiti’s eruption into the mainstream society during a period of social turmoil in the late 1960s and early ‘70s, and takes a closer look not only at early graffiti’s place on the wall but its place in the culture of the time.

Featuring unprecedented access to and exclusive interviews with graffiti’s originators CORNBREAD, TAKI 183, LSD OM, and more than a two-dozen others.Testimonies from journalists, historians and politicians who bore witness to the wallwriting revolution are also included in the film.

More comprehensive than anything on this subject, Wall Writers explores not only early graffiti writing itself but the writers creating it and the culture that drove them to write -- be it a need to rebel against the government, to pass a message, or simply be recognized by society. The film’s exclusive interviews are coupled with rare photographs and archival footage, most of which have never been seen on screen before and serve as historical reference points as well as evidence of early graffiti that was buffed away decades ago.

From graffiti’s humble beginnings in 1967 to the first painting being sold in 1973, Wall Writers reveals the context of the start of a movement that would eventually grow to transform city life, public transit, public art, and ultimately visual art the world over. The book:

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The Wall Writers companion hardbound book explores graffiti’s eruption into mainstream society in the period of social turmoil in the late 1960s and early ‘70s, and takes a closer look not only at early graffiti’s place on the wall but its place in the culture of the time. More comprehensive than any other book on the subject, Wall Writers explores not only early graffiti writing itself but the writers creating it, and the culture that drove them to write -- be it a need to rebel against the government, to pass a message, or simply be recognized by society. Hundreds of images of everything from spray paint advertisements to commercial greeting cards to images of buildings completely covered in spray painted monikers are included, and reveal the context of the beginnings of a movement that would eventually grow to “transform city life, public transit, public art, and ultimately visual art the world over.”

Includes interviews and profiles of some of the most prolific writers of the time, including TAKI 183, CORNBREAD, and dozens more.

photo courtesy of WALL WRITERS

WallWritersTheMovie.com

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he Craft & Folk Art Museum presents Made in China: New Ceramic Works by Keiko Fukazawa, the first solo museum exhibition of the Los Angeles-based ceramic artist. For the past three years, the Japanborn artist has visited Jingdezhen, China — the “porcelain capital” of the world — for artist residencies, where her observations of Chinese capitalism sparked a new body of concept-based work. Using porcelain busts of Chairman Mao Zedong, luxury brand logos, and timeless glazes, Made in China represents Fukazawa’s playful and ironic examinations of the effects of globalization and consumerism in China. Made in China: New Ceramic Works by Keiko Fukazawa is on view from January 24 – May 8, 2016.

Fukazawa has been studying porcelain in Jingdezhen. The city has been a global center of ceramic production and innovation for almost 2,000 years, and its ceramics were one of the world’s first globalized products. Jingdezhen serves as an appropriate anchor point for Fukazawa to explore the rapid spread of industrialization and capitalist strategies in China since the death of Chairman Mao Zedong in 1976. With 20% of the world’s population and the second largest economy, China represents the worldwide challenges of globalization: loss of cultural practices, rampant consumerism, and severe environmental degradation.

The artist’s fascination with China’s state capitalism began in the late2000s after reading an article on the exploitative child labor conditions in Chinese factories.

Subsequently, she created cast

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ceramic Beanie Babies sculptures shaped into iconic scholars rock sculptures to reflect on the rise of Chinese capitalism as a response to American consumer demand.

During her time in Jingdezhen the last three years, Fukazawa has observed the lifestyle shifts in Chinese society as Americanstyle consumer habits are being adopted.

way into a series called Spout Monsters, in which mutant teapots have grown multiple limb-like spouts. The series Chinese Still Life shows groupings of cast plastic bottles glazed in a range of lustrous glazes and other finishes unique to Jingdezhen.

Fukazawa often saw these bottles being discarded then reused as containers by glaze makers.

The works for Made in China were made collaboratively with local artisans to create several series’ representing various processes and materials from Jingdezhen, including porcelain flowermaking and traditional landscape painting. A series of porcelain busts representing massproduced statues of Chairman Mao show him adorned, and almost drowning in, delicate porcelain flowers—a reference to his Hundred Flowers Campaign, in which the public was encouraged to openly criticize the government but met with repression after doing so. A site-specific installation of Mao’s outstretched arms will invite visitors to contribute paper flowers to the piece.

“Keiko has been an active, longtime presence in the Los Angeles arts community, and we are very excited to present her work to a larger audience,” says CAFAM Exhibitions Curator Holly Jerger.

“The vast technical resources she encountered in Jingdezhen have allowed Keiko to make an important transition in her artistic practice and focus on conceptual issues she wanted to explore.

This body of work is also a potent example of contemporary craft’s relevance to world events, both historically and today.”

She goes on to decorate another series of multiples, based on domestic objects like spoons and tea flasks, with mass-produced decals of Chairman Mao in various stages of his life. These objects are glazed in a gradient ranging from red to gold, symbolizing China’s journey through communism to its current iteration of state capitalism. A series of large porcelain boxes shows Chinese landscape paintings infiltrated by multinational corporate logos like Louis Vuitton and McDonald’s.

Rejected parts from Jingdezhen’s ceramic factories make their

Born and raised in Japan, Fukazawa currently lives and works in Pasadena, California.

She studied at Musashino Art University in Tokyo and Otis College of Art and Design in Los Angeles, where she also taught ceramics for four years. She is currently assistant professor and head of the ceramic department at Pasadena City College. Her work is in the permanent collections of the Los Angeles County Museum of Art (LACMA), Los Angeles, California; the National Museum of History, Taipei, Taiwan; and Racine Art Museum, Racine, Wisconsin.

Fukazawa is the recipient of a 2016 COLA Individual Artist Fellowship from the Department of Cultural Affairs, City of Los Angeles.

CAFAM.org

photo courtesy of CAFAM

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leeping Cars, an exhibition of work by contemporary documentary photographer Gerd Ludwig. The exhibition features large scale photographs of resting cars at night throughout Los Angeles. Undeniably the city of cars; these vehicles are the blood in the veins of Los Angeles. Ludwig documents where these iconic Los Angeles inhabitants reside at night— tucked into driveways, proudly displayed in front of homes, glowing under street lamps, covered with tarps or simply left bare.

The viewer is invited to become a voyeur, documenting alongside Gerd Ludwig where these cars go to rest at night.

Gerd Ludwig explains in the introduction to Sleeping Cars (Edition Lammmerhuber, 2016), “My cars are loners.

They command their own space and enjoy showing off their presence. Like a devoted bird watcher I have learned to recognize their sleeping patterns. With voyeuristic pleasure I’ve spied on them in their nightgowns. I’ve watched some sleep in the nude; some take afternoon naps and a few lucky ones get to sleep together. I find covered cars more in L.A. than anywhere else. Here, middle-class families generally own more than one car, but their homes only have one-car garages. So many cars are left parked on the street for an extended period – lovingly covered, especially during holidays, when their owners treat them like crated pets.”

The vehicles rest against backgrounds of varying ambient light on the winding streets of the Hollywood Hills to the flat gridded suburbs of the Valley. Nestled in the low-lying fog of these distinctly Los Angeles neighbourhoods, the vehicles begin to take on personalities of their own. Each car’s distinct surroundings create a different tableau and tempt the viewer to construct his own narrative behind each vehicle. Ludwig’s late night scenes of cars sitting alone on streets in the dead of night possess an inherent mysterious quality, and almost bring to mind a forgotten movie set of a noir film, both so intrinsic to Los Angeles.

“I like to photograph during foggy nights or a full moon. A few times the police have stopped me in my work, wondering what I was doing out in the streets in the middle of the night. Was I a Peeping Tom or even worse, a paparazzo? After being shown a few of the car photographs on my iPad, they’ve even colluded with me and tipped me off about interesting cars to check out in the neighborhood. The cars in this project are photographed as I find them. Occasionally, proud car owners will ask me if I want them to move or uncover the car for the photograph, but I generally don’t like them to disturb the cars in their slumber.”

Gerd Ludwig was born in Alsfeld, Germany. Initially he studied German literature, political science, and physical education at the University of Marburg, but interrupted his studies to travel in Scandinavia and North America while supporting himself with jobs as a bricklayer, sailor,

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gardener, and dishwasher. After his return to Germany, he studied photography for five years with Professor Otto Steinert at the Folkwangschule (now Folkwang University of the Arts), graduating in 1972 with a degree in Photo Design from the University of Essen. The following year, he co-founded VISUM, Germany’s first photographer-owned photo agency. In 1975, he moved to Hamburg and began working for Geo, Stern, Spiegel, Zeit-Magazin, Time, and Life, as well as photographing advertising campaigns.

In 1984, Gerd re-located to New York and continued to photograph for major international publications. In the early 1990s, he signed on as a contract photographer for National Geographic Magazine, focusing on environmental issues, and the social changes in Germany and Eastern Europe. This work resulted in the publication of his book, Broken Empire: After the Fall of the USSR, a ten-year retrospective published by National Geographic in 2001.

Gerd Ludwig is perhaps most well known for his longterm coverage of the aftermath of the Chernobyl nuclear disaster. He first photographed Chernobyl in 1993 for National Geographic Magazine, and returned again in 2005 for a cover story, bringing him deeper into the contaminated reactor #4 than any western photographer.

Gerd’s work beautifully captures all the complexities life has to offer. Whether it is the sweetness of a hug and a kiss or the poignancy of children born with serious birth defects, his photography resonates with a full scale of emotion. By combining strong composition, socio-economic content, and a journalistic style, Ludwig creates images that broaden the mind and touch the soul. His ongoing coverage of post Soviet Russia has garnered his distinction as being the world’s foremost color photographer documenting the region.

Now based in Los Angeles, Gerd is represented by the exclusive National Geographic Creative. While he continues to work primarily for National Geographic Magazine, he photographs personal projects; exhibits in museums, galleries and festivals, such as the Perpignan Visa pour L’Image; lectures at universities; and conducts workshops internationally. Gerd is a veteran of the renowned A Day in the Life book series, occasionally shoots advertising, and has won numerous photographic awards, including the IPA’s 2006 Lucie Award for International Photographer of the Year, the Dr. Erich Salomon Prize from the German Society of Photography in 2014, and the Honor Medal for Distinguished Service in Journalism from the Missouri School of Journalism in 2015.

GerdLudwig.com

photo courtesy of GERD LUDWIG

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he story of VAN THIEL & CO. is the story of a passion for old furniture, a passion that has been passed from father to sons. More than four decades ago Rudy van Thiel, Sr. rode his bicycle to flea markets, excited by the potential he could see in the forgotten pieces he discovered.

As the story continued, the passion only grew and eventually with the help of Rudy's two sons, Rudy Jr. & Frederik, VAN THIEL & CO. was firmly established.

"It started forty-five years ago, tying a chair on the carrier of my bike. Today, supported by my sons, I am still traveling the world to find the unknown. It is this backstreet travel, the stories at the kitchen tables, the constant scanning with our eyes for the unexpected, and the adrenaline rush of finding the prize, that allow us to create and expand the VAN THIEL Collection." - Rudy van Thiel, Sr. Over the years the company has expanded into the production of artisanal style solid wooden case goods with a niche approach by offering refined, hand applied finishes reflecting true antique patinas.

By also producing handcrafted upholstery, handforged iron, paintings, porcelain and unique objects the company has grown to a sought after, one stop source for better home stores.

For RH Modern They cam up with a more modern design than ther usual pieces The Pacamar Dining Table featured here has its distinctive mortise-andtenon design, our Pacamara table from the Van Thiels was inspired by construction techniques. The boldly proportioned silhouette is crafted of rich oak veneers that have been hand finished to heighten their natural grain.

photo courtesy of RH MODERN

VanThiel.com RHModern.com

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armol Radziner Jewelry is a natural extension of the architecture firm Marmol Radziner, which integrates a range of design services, including landscape, interior, exterior, furniture, prefab, housewares and jewelry design. The same master craftsmen who work on full-scale building details and furniture in the Marmol Radziner metal shop, handcraft rings, bracelets, earrings and pendants from bronze. All of our jewelry pieces are proportioned for both men and women and are available in light, natural, distressed, dark and a unique "torched" finish.

photo courtesy of MARMOL RADZINER

Marmol Radziner Jewelry began when Design Principal Ron Radziner, FAIA, couldn't find any men's jewelry that was minimal, yet solid and strong. Remembering a piece of metal he once found on the beach and wore as a bracelet, Ron designed a cuff. He asked the metal shop craftsmen to fabricate it with the same dark patina as the hardware in the Vienna Way Residence. Soon after, Ron's wife Robin Cottle, and a few architects jumped in to design pieces they wanted, eventually creating a collection.

The Los Angeles-based architectural firm has an impressive portfolio of prefabs, mid-century restorations, and beautiful modern homes. Now you can take a little piece of its beautiful designs with you wherever you go and save a bit of metal from the landfill while you’re at it.

Marmol-Radziner.com

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rutalist architecture is a movement in architecture that flourished from the 1950s to the mid-1970s, descending from the modernist architectural movement of the early 20th century. The term originates from the French word for "raw" in the term used by Le Corbusier to describe his choice of material béton brut (raw concrete).

[1][2] British architectural critic Reyner Banham adapted the term into "brutalism" (originally "New Brutalism") to identify the emerging style.

Brutalism became popular with governmental and institutional clients, with numerous examples in Britain, France, Germany, Japan, the United States, Canada, Brazil, the Philippines, Israel and Australia.

Examples are typically massive in character (even when not large), fortress-like, with a predominance of exposed concrete construction, or in the case of the "brick brutalists," ruggedly combine detailed brickwork and concrete. There is often an emphasis on graphically expressing in the external elevations and in the whole-site architectural plan the main functions and people-flows of the buildings. Brutalism became popular for educational buildings (especially university buildings), but was relatively rare for corporate projects. Brutalism became favoured for many government projects, highrise housing, and shopping centres.

In its ruggedness and lack of concern to look comfortable or easy, Brutalism can be seen as a reaction by a younger generation to the lightness, optimism, and frivolity of some 1930s and 1940s architecture. In one critical appraisal

by Banham, Brutalism was posited not as a style but as the expression of an atmosphere among architects of moral seriousness. "Brutalism" as an architectural critical term was not always consistently used by critics; architects themselves usually avoided using it altogether. More recently, "brutalism" has become used in popular discourse to refer

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to buildings of the late twentieth century that are large or unpopular – as a synonym for "brutal."

The term "brutalism" was originally coined by the Swedish architect Hans Asplund to describe Villa Göth in Uppsala, designed in 1949 by his contemporaries Bengt Edman and Lennart Holm. He originally used the Swedish-language term nybrutalism (new brutalism), which was picked up by a group of visiting English architects, including Michael Ventris. In England, the term was further adopted by architects Alison and Peter Smithson. The term gained wide currency when the British architectural historian Reyner Banham used it in the title of his 1966 book, The New Brutalism: Ethic or Aesthetic?, to characterise a somewhat recently established cluster of architectural approaches, particularly in Europe.

Known early Brutalist architecture is the work of the Swiss architect Le Corbusier, in particular his 1952 Unité d'Habitation and the 1953 Secretariat Building (Palace of Assembly) in Chandigarh, India.

Brutalism gained considerable momentum in the United Kingdom during the mid-twentieth century, as economically depressed (and World War II-ravaged) communities sought inexpensive construction and design methods for low-cost housing, shopping centres, and government buildings. Nonetheless, many architects chose the Brutalist style even when they had large budgets, as they appreciated the 'honesty', the sculptural qualities, and perhaps, the uncompromising, anti-bourgeois, nature of the style.

Brutalist buildings are usually formed with repeated modular elements forming masses representing specific functional zones, distinctly articulated and grouped together into a unified whole. Concrete is used for its raw and unpretentious honesty, contrasting dramatically with the highly refined and ornamented buildings constructed

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in the elite Beaux-Arts style. Surfaces of cast concrete are made to reveal the basic nature of its construction, revealing the texture of the wooden planks used for the in-situ casting forms. Brutalist building materials also include brick, glass, steel, rough-hewn stone, and gabions.

Conversely, not all buildings exhibiting an exposed concrete exterior can be considered Brutalist, and may belong to one of a range of architectural styles including Constructivism, International Style, Expressionism, Postmodernism, and Deconstructivism.

Another common theme in Brutalist designs is the exposure of the building's functions—ranging from their structure and services to their human use—in the exterior of the building. In the Boston City Hall, designed in 1962, the strikingly different and projected portions of the building indicate the special nature of the rooms behind those walls, such as the mayor's office or the city council chambers. From another perspective, the design of the Hunstanton School included placing the facility's water tank, normally a hidden service feature, in a prominent, visible tower.

Although the Brutalist movement was largely dead by the mid1980s, having largely given way to Structural Expressionism and Deconstructivism, it has experienced an updating of sorts in recent years.

Many of the rougher aspects of the style have been softened in newer buildings, with concrete façades often being sandblasted to create a stone-like surface, covered in stucco, or composed of patterned, pre-cast elements. These elements are also found in renovations of older brutalist buildings, such as the redevelopment of Sheffield's Park Hill. Several Brutalist buildings have been granted listed status as historic.

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KEIRAN photography INKED KENNY InkedKenny.com stylist BRETT MURRAY model KEIRAN STEWART

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LORENZO photography WANDER AGUIAR WanserAguiar.com stylist DEN HALL model JOHN DEWALL at SHAMON FREITAS model management LORENZO CANIZALES at HOLLYWOOD model management photography assistant ANDREY BAHIA grooming CHRISTINA LUKENS

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BOOKS Restaurants and bars offer architects and interior designers the opportunity to design for both style and entertainment. Aesthetics and function must come together to create ambiance and conviviality in a way that not only makes a bold first impression, but also secures a loyal following of regular customers. The Restaurant & Bar Design Awards—the world’s only awards dedicated to hospitality design—recognize the importance of this particular field, singling out the world’s most exceptional settings for eating and drinking. Each year, entries are submitted from all sectors, including hotels, offices, transport, industry, fine dining, education, sports and leisure, healthcare, government, aviation, cruise, and retail. A panel of top design, lifestyle, and hospitality professionals judges the entries.

Forty years of "witty thinking" from over 300 designers, including hundreds of visual examples and interviews with the world's top practitioners.

Packed with illustrations showcasing different examples of the use of wit in a variety of graphic design and products, from invitations to letterheads, digital platforms and even works of art.

Features the work of the most prominent designers from across the globe.

Includes interviews with over 20 of the world's top designers, including Ivan Chermayeff, Milton Glaser, John Gorham and Alan Fletcher.

Divided into five chapters—Americas, Asia, Australia, Europe, and Middle East—the book features 100 highlights from the establishments put forward to the panel.

Texts include chapter introductions by experts and judges such as Tony Chambers (editor-in-chief of Wallpaper*) and designer Karim Rashid, and a preface by the author and founder of the awards, Marco Rebora.

An essential sourcebook of recent designs as well as a celebration of classic work, edited by contemporary experts, with the assistance of key professionals from the field.

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This platinum tome is the most comprehensive visual history of surfing to date, marking a major cultural event as much as a publication. Following three and a half years of meticulous research, it brings together more than 900 images to chart the evolution of surfing as a sport, a lifestyle, and a philosophy.

An inspiring, surprising and fun collection of 300 works of small-scale architecture, Nanotecture includes demountable, portable, transportable, inflatable, systematised and flatpacked structures as well as pavilions, installations, sheds, cabins,pods, capsules, tree houses and even miniature architecture for cats, dogs, birds and bees.

The book is arranged into five chronological chapters, tracing surfing culture from the first recorded European contact in 1778 by Captain James Cook to the global and multiplatform phenomenon of today. Utilizing institutions, collections, and photographic archives from around the world, and with accompanying essays by the world’s top surf journalists, it celebrates the sport on and off the water.

Nanotecture is a celebration of the small, the compact, the miniature and the tiny, revealing that size is no barrier to architectural creativity. Organised visually with pairings of complementary or contrasting images, each structure is illustrated with a single colour photograph and accompanied by an incisive, informative text.

A colour an extra thematic architect book.

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code for building materials lends organisational dimension, as do indexes for country, material and for cross referencing across the

Phaidon.com

S AT E L L I T E - MAG. COM

Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché and disturbing archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul. A subtle disquiet inhabits his paintings; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Ryden’s world cherubic girls rub elbows with strange and mysterious figures. Ornately carved frames lend the paintings a baroque exuberance that adds gravity to their enigmatic themes.

Complex in its arcane and idiosyncratic subject matter, Ryden’s work can leave no viewer unmoved.

Taschen.com

issu e

XL I V

p .

1 0 5

X

REID

L

I

S A T E L L I T E - M A G . C O M

THOMPSON

photographed

by

V

FRANK

LOUIS