Page 1

issue#16

a c o l l e c t i v e o f c r e at i v e c u lt i vat i o n s

The Lost Issue...

RIP Moebius + 4D Korea + Maynely Thom + MEGAPIXELS Panzerfaust Peter + LIGHT PAINTING + PARASOLS..more


MADE by Origina EACH DESIGN HOTEL provides an individual, aesthetic & service-driven hotel experience & reflects the vision of each independent hotelier - an “Original” with a passion for cultural authenticity & genuine hospitality that is rooted & enhanced by thought-provoking design & architecture.

Each DESIGN HOTEL was “Made by Originals”!

The new Templar Hotel, Toronto, Canada e2


iginaLS

e3


.table of contents

THOM MAYNE

PRITZKER, LOS ANGELES, ARCHITECT, trouble maker, MORPHOSIS founding, REBELLIOUS, BEARDED, WHITE MALE, ACCRETIONAL, INNOVATIVE, GENIUS

p96

p132

p58

p32

NORWAY FANTASTIC

PANZERFAUST

TEMPLAR’S DEN

Striding through Europe’s architectural wastelands comes a group of Norwegian architects bent on challenging the mundane

The classic Peter Pan tale gets a WWII makeover courtesy of Calgary’s own Blacksheep Studios &

Toronto’s new Templar Hotel delivers a luxurious, subconsciously eclectic experience for crusading types

e4


METROPOL PARASOL Jurgen Meyer architects presents the world’s largest wooden waffle-walk to the good people of Seville, Spain

p84

RIP moebius

An indepth look at the life and works of the iconic French cartoon artist that was Moebius

p110

TA TA MEGAPIXEL

India’s rebellious automarker brings a new hybrid micro-sample to the pixelated market

p40 e5


LIGHT PAINTING

LOW-FI MIX

p124

WAF LIGHTING

p20

p30

The Pumpkin project

p24 e6


E-MERGING INFINITI

KOREA 4D

p46 ASIAN FUSION

p72

p140 e7


or starck X 638 sco

Axor® Starck X The Beginning of a New Era

5” x 9.75” 5” x 10.75” 5” x 11.25”

mente Magazine yk rch 08 mmer 638_el_4c_fp_e

38

K

A P P R O V A L ______________ ______________ ______________ ______________ ______________ ______________ ______________ ______________ ______________ ______________

3 4 5 6 7 finAl

Copyright © 2008, Hansgrohe, Inc

a Laser Proof

Axor Starck X’s flat surfaces contrast with the cylindrical body and simple handle, a vivid realization of Philippe Starck’s “poetry of reduction” philosophy. Axor Starck X lav mixers are available in four different heights, and the collection features shower and bath products as well. See the entire collection at www.hansgrohe-usa.com.

21638_EL_4C_FP_E.indd 1

3/13/08 2:53:30 PM


© 2009 Masco Corporation of Indiana

This is the moment your forearm has been waiting for. TOUCH 2O ™ TECHNOLOGY. TOUCH IT ON, TOUCH IT OFF. Touch anywhere on the spout or handle with your wrist or forearm to start ®

and stop the flow of water. Another way that Delta is more than just a faucet. For a demo, visit deltafaucet.com/touch


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NEW YORK, 43 GREEN STREET


Sold exclusively in the Design District at

City Tile Design Studioe 11 1220 - 11th Avenue S.W. Calgary, Alberta


KOHLER: As I See It, #X in a series ARTIST: Mark Holthusen SUITE: FountainheadTM — toilet, lavatory, vanity with mirror, faucet and seat This is where the copy — to be determined later — will go. 1-800 -4-KOHLER, ext. XXX kohler.com/xxxxxxxxxxxxx

©2009 Kohler Co.


masthead

Editor-in-Chief: Angus MacKenzie

Creative Agency: Farm Media Inc.

Creative Designer: Charlotte Hong

Editorial Advisory Board: Is away from the office

Feature Writers:

Will Jones, Leslie Todd, A. Bahry

Feature Photographers: Olivier Ouadah, Angus MacKenzie, David Franck & Fernando Aldo, Sergio Perrone

Publisher: FARM MEDIA INC.

President: Angus MacKenzie

Director, Sales & Marketing: Angus MacKenzie

Advertising Inquiries: Calgary, AB, Canada

Phone 403.816.0520 advertising@elementemagazine.com www.elementemagazine.com

Letters: Please send your letters and suggestions to

angus@elementemagazine.com

Find Us Online: www.issuu.com

Socialize: Follow us on the

CopyrightŠ2012 FARM MEDIA INC. All rights reserved. Nothing in this publication may be copied or reprinted without the written consent of the publisher. elemente magazine is published 6 times a year. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. elemente magazine assumes no responsibility for unsolicited manuscripts or photos.

T [403] 290 0145

T [403] 290 0145 e 14 1224A Ninth Avenue SE Calgary AB 060@yahoo.ca ca5060@yahoo.ca 1224A Ninth Avenue SE Calgary AB T2G 0T1

T2G 0T1


TO TRULY EVALUATE A PERSIAN RUG, IT HELPS TO KNOW WHAT THE SHEEP ATE.

At the House of Persian Rugs, we can tell the difference between wool from sheep in cool climates and wool from sheep in hot dry regions. (Sheep that eat vegetation in cooler areas yield wool with more lanolin.) For 40 years we have been buying the finest traditional, transitional and modern carpets directly from master weavers in Turkey, Nepal, China, Iran and Tibet. So you can be sure no one pulls the wool over your eyes.

AT THE HOUSE OF PERSIAN RUGS, EVERY KNOT TELLS A STORY.

TM

EST. 1968 • 221 10TH AVENUE SW, CALGARY, 403.262.5323

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ARCHIVED ISSUES PC/ANDROID

editor’s note

EDITORIAL REDUX v2.0

+

ARCHITeCTURe

+

lIfeSTyle

+

zaha The queen WILL See YOu nOW

Oh hi. Long time no magazine. Two years according to my daytimer. So we missed you. We of the elemente missed each and every one of our readers, strategic partners, our many fine attractive advertisers, and our many industry contacts from about the globe. Group hug, oh wait, I don’t hug. So why the two year hiatus? Well first I’d like to thank Greece, Italy, Spain, USA, Ireland, Wall Street, the quants, and the one economist who came up with that perfect economic formula that helped financially sex us all. Thanks for that. But on Chinese New Years, the decision was made to restart the redesigned publication currently in front of you in low definition, hyperstereophonic 2D. And rather than focus on the materialistic side of the conversation, a decision to explore a wider creative mandate, focusing on processes, successes, failures, enigmatic individuals, unconventional ideas, and innovation was made – essentially cultivating ideas that feed the curiousity. Because creative people, from all avenues and disciplines, require inspiration from an expansive array of sources and influences to keep the shite real. Yo. And so, in the new issue we’ve looked to cover an extensive, diverse array of creative bases, retaining some of the finer points of elemente v1.0 whilst implementing v2.0 directives. Content includes; the influential legendary cartoonist Moebius, local comic book Peter Pan remakers, the latest urban micro-vehicle from India, Pritzker prize winning architect Thom Mayne, a 4D Korean park, an eclectic design hotel in Toronto, light painted photography, and of course the world’s largest waffle art in Spain. But so hey, why the digital? Well back in 2010, key innovations had not yet evolved sufficiently to deliver a meaningful digital experience. Much like the battle of digital photography vs film, previous e 16

online magazines were clunky, slow loading; Flash based flippy things that enjoyed the thrill of the crash and Mesozoic loading times. But thanks to the Apple kids, the iPad has forced an experiential change of digital magnitude across the publishing & vendour landscapes. And with it, the perceived value of pixelated content. The question now remains: should a publication only be allowed to become a reality if it can only afford the pesos to print? Or, should it be allowed to fight for its existence in the new digital realm, while delivering a unique, interactive editorial experience, at a third the cost? Please, don’t get me wrong. I still enjoy a well done, high quality print publication, but comparative economic realities are hard to ignore, especially in this quant-tainted landscape (little bastards). In this new economic environment, as in nature, those that can remain lean, adaptive and flexible will be the ones to survive – of course, access to excessive working capital like that of Conde Nast never hurt. So it appears you’re going to have to put up with us and the new elemente, because we’re not going anywhere until we’re done cultivating as much of the creative as the tractor can manage… or until a similarly applicable farming metaphor becomes apparent. And we want to hear from you on the new issue. We recognize the need for the magazine to continuously evolve and are looking for your input to make this happen. Send your comments, critiques, future story ideas, money orders, etc to Angus@elementemagazine.com Thanks for watching, Angus MacKenzie Editor-in-Chief This issue’s for mom, we never give up.

As in so mAny plAces in developing world At the time, there wAs An unbroken belief in progress And A greAt optimism. if you look bAck to the 60’s, when i wAs growing up, it wAs A moment of nAtion-building, there wAs A lot of emphAsis on Architecture, not only in the ArAb world but Also in south AmericA And AsiA. it wAs A similAr moment to whAt it is now – there wAs A renewed pride in the structure of the city. these ideAs of chAnge, liberAtion, And freedom of this erA were criticAl to my development. my fAther’s generAtion wAs sent AbroAd - And he went to the london school of economics to study under lAskiAn And fAbiAn. there wAs incredible moment of sociAl reform everywhere. this V03 #03 ideology w As import Ant t o m e . w e tV03 r A#03 velled 03 w i d e l y . t hJuly/August e s e 09 tCAN/US h i$n gs 8.00 d o h A v e A n i m p A c t03 o n y o u — o n e0 ’ s56698 e d27848 u c A1t i o n is importAnt, in Any 0 56698 27848 1 world.

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On the Cover: LA CHASSE AU MAJOR, 2009 Acrylic on Canvas 90 x 130 cm Moebius a c o l l e c t i v e o f c r e at i v e c u lt i vat i o n s


WELCOME TO THE NEIGHBORHOOD Order your copy now: designhotels.com / shop

The Design Hotels™ Book 2012 showcases a curated portfolio of 220 hotels in 134 destinations around the globe; its focus is on design, a strong neighborhood connection and the sense of community that truly distinctive properties cultivate. The Design Hotels™ Book combines striking images and in-depth reviews to provide a glimpse into each member hotel’s individual promise.

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ADVERTISE. Looking for a cost effective medium to help reach like-minded individuals across that nasty creative expanse? elemente’s identified creative readership of 10,000 & growing is a perfect digital vehicle to deliver that message. Online partnering, social media, websites plus this publication will provide an extensive brand building network for your message.

Rates from $300/issue

PARTNERING. elemente is looking for strategic partners to further enhance & develop opportunities within our respective communities. Contact us to discuss upcoming events, fund raisers, awareness campaigns, editorial partnerings, product launches, etc. We look forward to working with you. angus@elementemagazine.com

advertise@elementemagazine.com

EDITORIAL. The creative world is constantly morphing & adapting to new environments. elemente wants your help to identify key editorial opportunities to feed the creative community. Content of interest includes: industrial design, transportation solutions, architecture, interior design, urban planning, technology innovations, photography, illustration & destination ideas. editorial@elementemagazine.com

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CONTACt. We’d love to hear from you. Whether you’re looking to complain, high-five, provide single malts, criticism, or even lunch, we want to hear from you. We value your opinion & want to know how & where we can improve the magazine with every issue. angus@elementemagazine.com

media + editorial enquiries


‘Cultivate the Creative’ for farm media by award winning CDN illustrator Gary Taxali e 19


Architect: Smith & Vansant Architects

Project: Contemporary Weekend Home

Architect: Smith & Vansant Architects

Project: Contemporary Weekend Home

Discover the world’s most inspiring windows and doors at www.loewen.com

SW-COC-1739

Responsible Forest Management © 1996 Forest Stewardship Council A.C.

Discover the world’s most inspiring windows and doors at www.loewen.com 46832 Loewen Elemente DPS.indd 1


For luxury homeowners — and the architects, designers and custom builders who create their dreams — Loewen is the brand that delivers an unrivaled combination of artisanship, experience, and environmental sensibility in an extensive line of Douglas Fir, FSC Douglas Fir and Mahogany windows and doors. Contact Loewen at 1.800.563.9367 to begin the experience. For luxury homeowners — and the architects, designers and custom builders who create Design. Create. Inspire. their dreams — Loewen is the brand that delivers an unrivaled combination of artisanship, experience, and environmental sensibility in an extensive line of Douglas Fir, FSC Douglas Fir and Mahogany windows and doors. Contact Loewen at 1.800.563.9367 to begin the experience.

Design. Create. Inspire. 5/12/08 12:49:49 PM


Michael J. Podd

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elemente


visually connected LinkedIn’s Inmapping helps users visually identify areas in which they’re networkingly colour blind Ever wonder how many more Linked In contacts you have than Bill? We have. But not only are we competitive on a corporate connection level, we also want to know that we can crush him with spatial link field, comprised of orange, blue, pink and green dots. All connected by an Air Canada styled flight map. Linked In’s new Inmapping allows users to see why orange is avoiding them at the office Xmas party while blue continues to be the cool clique in the room. Its usefulness as networking tool is more than likely surpassed by its aesthetics but who’s counting.

d

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elemente


PIXEL ME THIS... New abstractical app allows phone shooters to full-on pixel-astract their most precious of kodak moments Designed by Visual Artist Rainer Kohlberger this new abstractionist app for your phone of i provides 9 unique pixelation filters to produce museum quality imagery. What with the excess of 70’s insta-filtering & lomo-frying from the billion plus phone cams its nice to see a fresh take on the artistic. 100 billion Ansel Adams can’t be wrong. Images can be of course shared on the Twitter and Facebook, or via Email or saved to a photo gallery. A photoshop plug-in would be nice for us other real-world SLR users.

▲| PIXEL ME THAT

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Hanan Kedmi’s juxtaposed jewellery merges the fuzzy tangibleness of wool with the metal heat sink

HEAT SINKS get fuzzy e 26


Inspired by the aesthetics of heat sinks, computer bits that manage and diffuse overheating, designer Hanan Kedmi was looking for ways to link the metal components with juxtaposed materials. The contrast of the organic material that radiates warmth and tenderness as opposed to the hard, cold metal as well as the production process itself; heat is required to weld metal and water for wool. One of the biggest challenges in the design process was to reach sufficient mastery of the material so that I could create tiny details that were delicate yet sturdy. In Kedmi’s most recent project, Felt Follows Form, he used recycled heat sinks but wanted to find alternative ways to join materials but not welding or adhesion. Throughout his search he learned that wool’s ability to function as a shell and act as an aesthetic element would fit his design mandate. The felt not only holds the parts but is also interwoven into the pieces. The felting process enabled Kedmi to take advantage of wool’s elastic qualities as well as the firmness and stability. Each piece in the collection is handmade and there is no use of construction in it or any stitches or glue. It is made only by using various felting techniques.

▲| GET THE FUZZY HEAT

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Drop the Needle

Livia Ritthaler’s minimalist turntable throws down on the low-fi With zero shillings to compete in the local vinyl mash-down, this UK designer instead decided to go it old school. Her uber-simplistic spinning device is comprised of wood, a paper cone and metal bracket. The Piaf-esque vinyl scratchy scritches produce a sound that kids today wish they could spin out on dad’s Coleco Vision. Spin it and win it...simple as Piaf. www.LiviaRitthaler.com e 28


M i d

C e n t u r y

m o d e r n

403-290-0145 www.circa5060.ca | 1224A - 9th Avenue S.E. | Calgary, AB e 29


AN ELECTRICAL PEDELECTION Vauxhall/Opel’s RAD e Concept pedal-assisted electric bike, or pedelec, is a forward looking design with electrified motivational options These images provided are renderings only but show a unique architecture with a frame forecast to be developed from hollow pressed-steel, similar to automotive productions. Vauxhall/Opel’s designers claim it the first electric bicycle to be designed around automotive manufacturing mass production methods. The RAD e’s 250 W electric motor will be powered by a lithium-ion battery and deliver 40 Nm of torque at 0 rpm. The battery is compatible with the company’s automotive FlexFix bike carrying system, allowing the RADe to be charged in transit. Clever no. The manufacturer purports an average expected speed of 20 km/h over an electrically motivated range of 64 - 145 km.

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elemente


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© 2012 Hewlett-Packard Development Company, L.P. 1Average based on HP Color Effectiveness Study conducted in the US by Infotrends, 9/2011. 2Requires an Internet connection to the printer. Feature works with any connected Internet- and email-capable device. Print times may vary. Some HP LaserJets may require a firmware upgrade. For a list of supported documents, and image types, see www.hp.com/go/eprintcenter. And for additional solutions, see www.hp.com/go/mobile-printing-solutions. 3Based on energy, paper and toner savings from regular printer usage. Results may vary.

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Mathieu Lehanneur, Julien Benayoun & David Edwards’ WATER TOTING CATALYST

THE PUMPKIN project IMAGES COURTESY - Le Laboratoire

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More akin to a cocooned butterfly of Hermes inspiration than H20 transporter, The Pumpkin water tote is a... catalyst design premised through an international humanitarian effort with an agenda to improve water transport where access to clean water is limited.

cell (it actually resembles a pumpkin), which the Harvard and French teams experimented with in African villages in the summer of 2009.

This project, first developed in The Lab at Harvard in the fall of 2008, was joined by the French designers Mathieu Lehanneur and Julien Benayoun in the winter of 2009, leading to a first prototype water vessel, inspired by the biological

From the fall of 2010 through the summer of 2013 ArtScience Labs, working with South African students, professors, and nonprofits, as well as the students and faculty from Harvard University Revenues from sale of The Pumpkin will e 33


Like a biological cell, The Pumpkin can morph to carry 4 litres on the back, 8 on the head, 12 or 15 litres around the torso.

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support this humanitarian experiment, potentially leading to the startup of an African company to pioneer the safe, beneficial, ecologically sustainable transport of water in the 21st century. The Pumpkin greatest attribute is its biomorphic capabilities. Hang it from the shoulder or fix it to a purse or handbag, to hold just enough water (4 litres) to get through the day. In more extreme environments such as cycling, hiking, butterfly chasing, etc. where H20 is critical, The Pumpkin can be filled with 8 litres to sit on the head, or like a rucksack on the back. Under even more extreme situations where temperature, hard work and/or relief conditions are present The Pumpkin morph out to transport up to 15 litres of water around the shoulders and neck. A filtering option is available. With water quickly becoming one of the world’s most precious and endangered resources The Pumpkin could quickly become the ideal personal bag for the 21st century. Goldfish not included. ▲| CHECK IT OUT

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BONASERA’S MODULAR PENDANT LIGHTING SYSTEM TAKES IT TO INFINITY AND BEYOND....

infinite incandescen The Infiniti pendant downlight is

may not permit the installation of

a modular pendant light available recessed downlights. Its shape in two configurations; single or

pays homage to the infinity

twin and is designed to house

symbol and is designed to be

one or a pair of energy efficient

clustered en masse with infinite

LED downlights lasting 50000

configuration potential or used

hours; conventional 12v halogen

individually in its single or twin

downlights can also be used.

embodiment. In clustered forma-

Produced from non translucent,

tion, Infiniti can be suspended

glazed porcelain which in itself

by its simple stainless steel

comprises a percentage of

suspension cables at a uniform

recycled scrap material, Infiniti

and consistent level where ceil-

is intended for use where direct

ing heights may be irregular or

downlighting is required but

varied.

ceiling height or construction â–˛| CHECK IT OUT

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ence

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ISRAELI DESIGNER ASAF WEINBROOM’S cloaked VENEER LIGHTING SOLUTIONs

WAF LIGHT

Designed by Israeli light guru Asaf Weinbroom, the WAF Light is proclaimed as an innovative & elegant interpretation of the traditional table lamp. Built from two maple veneers, the lamp is folded and buttoned together. The design closely resembles a paper do-it-yourself lamp, or midget nun with veneer habit. At night, light is reflected out by the adjustable bonnet, as well as warmly diffused throughout the thin veneer. Available online through the miracle of the interwebs. ▲| LIGHT ME UP

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image courtesy of Design Hotels(tm)”

TEMPLAR’S DEN The Templar Hotel is a luxurious, subconsciously eclectic world created by Toronto’s Del Terrelonge

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The Templars, or Knights Templar, were sponsored by those kooky kids from the Catholic Church in and about 1129 AD. With their flashy white mantles, broad swords and red crosses, the Templars were best known as the elite fighting soldier during those whacky times known as the Crusades. The new hotel presented by the Design Hotel Group, despite the name, has nothing in common with these individuals or their goal of converting all guests to Catholicism. However, the name carries with it much cache and respect so that’s cool.

Designed by Toronto’s own Del Terrelonge, this 8-storey shard of a hotel is located smack dab in the heart of Toronto’s entertainment district. The glass and aluminum façade surrounds the narrow entrance. Inside, guests will find glowing art installations and custom designed Poliform furnishings, giving the space that boutique Templar feel so common in the 1100s. Eclectic with a sense of stylistic zen best describe the feel of the space. 27 marble-dressed rooms and suites are similarly styled providing guests with a unique inner-city experience. Hard wood floors, lit of atmospheric blue light, meet open book shelves populated by designer trinkets in the Monk lounge…where only the coolest of Knights Templar drink on sheepskin lined chairs.

With unique art installations, bespoke furnishings and a cool-boutique atmosphere makes the Templar a crusade worth fighting for…Christianity not included. ▲| CHECK IN HERE

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motivational spea

Focusing on the creative merging of design, form and functionality

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akers

{the ever so bloody lovely Aston Martin Zagato V12}

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the

TaTas latest hybrid micro-assault vehicle politely requests not to be judged by its pixels alone

Megapixel

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In relation to the Hummer, the new uber-cute, ultra cheap city ride from our good friends at TaTa Motors is actually only 1140x920 pixels wide. Built of one million pixels and using four in-wheel 10 kW motors, plus a 325 cc single cylinder gas engine, the new Megapixel released at this year’s Geneva Auto Show is an evolutionary update from last year’s Pixel concept. This micro fighter generates 22 kW of power while charging a lithium ion phosphate battery, which gives pixelators an approximate hybrid range of 900 km, and an electric-only range of 87 km...just enough to get to the Jeera Goli shop and back.

▲ e 49


Measuring in at a wee 3.5 metres long, or 1440x990

beasty. The car’s unique dual sliding doors make for

pixels, the Megapixel combines an every so tiny road

easier egress/ingress in tight street scenarios, while

impression with individually articulating wheels. These

the decreasing roofline, forward sloping stub nose with

articulate wheels allow the Megapixel to circle back to the

sweeping headlights and copious amounts of glass help

nearest deli in an ever so slight 2.75m turning radius….

define the car’s micro-presence. The design aesthetic

anyone who’s driven in New Delhi knows exactly how

exudes its Indian influence while remaining conscious of

important Indian parkour maneuverability can be.

it’s global market, but with a subdued palate.

An inductive home charging system makes recharging

With the economic situation continually redefining

simple. Parking over an induction pad allows the

itself and the price of gas verging on pornographic, the

Megapixel to recharge without the need to plug in.

Megapixel could prove to be an up-and-coming surprise

Developed by Tata’s design centres in India, the UK and Italy, stylistically the Megapixel is a sexy wee future e 50

contender in the hotly contested pixel market. ▲| PIXELIZE MY TA TA HERE


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â&#x20AC;&#x153;Floating seats mixed with a patterned panoramic roof give a sense of lightness to the cabin. Double sliding doors afford unhindered access to an interior space, designed to be minimalistic & clutter freeâ&#x20AC;?

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e-merging Infinitiâ&#x20AC;&#x2122;s new 400 hp electrified performance flagship is realized

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402 bhp (300 kW), 0-100 kph 4.0 seconds; top speed of 209 kmh; 483-km range using the three-cylinder range-extender; 48 km electric-only; CO2 output of 55 g/km

“An architectural material ‘Sefar’ a fine, metallic mesh permeates the cabin, allowing light to illuminate the space in a translucent club-styled glow”

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The new INFINITI EMERG-E Concept, which made

The underlying design rationale for the EMERGE-E

its debut at the Geneva Motor Show this past month,

was based on an increasing movement by European

is the brand’s first high performance foray into the

cities to ban petrolhead powered vehicles from within

rarefied world of the performance hybrid.

their walls. Recognizing a growing shift Infiniti decided

Developed in Europe the electrically sexified EMERG-E

best to explore alternate flagship concepts before the

is the first Infiniti to be primarily produced outside its

proverbial dinosaur dropped, so to speak.

Asian borders. Global outsourcing of critical skills

Stylistically

was explored in order to help identify future areas that

expressionist take on Infiniti’s new design language

lay beyond the manufacturer’s expertise. Working in

in a high performance, mid-ship environment. Until

partner with the UK government’s Technology Strategy

now brands like Fisker and Tesla have owned the

Board, an initiative was presented whose aim was to

niche market for performance hybrids, but with the

speed the arrival of low carbon vehicles. In this form,

EE Infiniti shows a serious intent towards the future.

we would say Infiniti has surpassed the pragmatic

The interior is a reflection of Infiniti’s Japanese

requirements of the initiative and then some.

aesthetic. Influences of traditional craftsmanship are

the

EMERG-E

provides

a

sexy

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noted in the semi-glossy texture of the semi-aniline leather that encases

times from electrics are impres

the dashboard and seats. Subtle violet-tinted lacquer covers the cabin’s

rpm as opposed to petrol heade

carbon fibre elements and compliments the EMERG-E’s unique flooring

peak powers. Of course in a lon

treatment. Fashioned from an architectural material called ‘Sefar’, this

heeded ride will handily spank

fine, metallic mesh is translucent allowing light through, providing a club-

range-extender gas engine how

styled translucent glow. “It’s the first time this material has been used

“It’s elegant yet dynamic, and

in an automotive application,” says Gail Patrick, Senior Colour Designer,

President and Chief Creative Of

adding “it adds depth and allure, while underlining the car fact that this

usually cruder, but the body of E

car is electrically propelled.”

over the wheels.” I would disag

The EMERG-E performance specs are impressive. With 402bhp (300kW)

relative to Ferrari’s 458 or Tesla’

twin electric motor, set in a mid-engine configuration, the EE will surge

NDE Design Manager, Taisuke

out from 0- 100 kph in a tick over 4.0 seconds. From 0-210 kph the silky

“The volume of the EMERG-E

lines blur out in conjunction with the electrics in 30 seconds. Acceleration

flows like a stream all the way to

“...and the crescent-cut sculpting of the car’s rear pillar gives the E a distinctive cockpit.”

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ssive thanks to power being available at 0

is all the more effective for the extra length grafted into the platform ahead

ed rides requiring ramp up energy to reach

of the windscreen. The fast angle of the car’s A-pillars and the subtly

ng distance performance event the petrol

flexing curve in the car’s flanks speak to the silky fluidity of the design,

the 9 volt because of range limitations. A

whereas the crescent-cut sculpting of the car’s rear pillar gives the E a

wever does help the Es overall range.

distinctive cockpit.

d has graceful power,” says Senior Vice

“The furl of the neck of a Kimono is the inspiration for the E’s subtly

fficer, Shiro Nakamura. “Mid-ship cars are

voluptuous lateral air intakes,” explains Shiro Nakamura. Adding, “I did

EMERG-E is like silk wrapping effortlessly

not want to see the crude grille of an air intake on this design.”

gree with the mid-bodied crude remark in

The EMERG-E is a sexy electrified example of Infiniti’s newfound intent to

’s equivalent.

develop and produce a hybrid performance vehicle.

Nakamura, rationalizes the car’s design,

Available & for how much when?

starts from the badge and the grille and

o the chopped tail. This fluency of the line

“The fast angle of the car’s A-pillars and the subtly flexing curve in the car’s flanks speak to the silky fluidity of the design”

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Yorgy SCHMORGEn B

Ignore the 1100 BHP, the Swedish moniker & tho Koenigsegg Agera-R’s ski box is all that matter So there it is. 8:30 am Tuesday morning. You’re late for the mountains again (ie. myself). Its 2.0 hours to Lake Louise, if the RCMP are generous. Your car has 1100 HP, room for two and zero space for the luxury of snowhill devices. Well there are two options; One, you could get up earlier (because that could happen)...Or two, you could borrow Swedish Chef’s mildly ridiculous supercar. Now according to science, the top speed of the Swedish Koenigsegg Agera R is 390 km/h, the distance to Lake Louise from Calgary is…one moment…186.3 kilometres @ at 110 km/h wold put you on hill within 2 hours 16 minutes. However with Swedish Chef behind the wheel of the Agera, your time to be on hill just dropped to 1 hour 8 minutes @ 390 km/h. Mountain goats notwithstanding.

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But the logistical transport problem s dog Mittens, your board and après tu excessively customized roof box. Koenigsegg decided additional stora stepped up with the answer. Not your weight box of carbon fibre thats good


Borge Florg!

ose silly performance figures, rs

still remains, where to put Mitt Romneyâ&#x20AC;&#x2122;s urtleneck? The response, Thuleâ&#x20AC;&#x2122;s

age space was required and Thule r normal ski box, but rather a super light d to 300 km/h, this custom roof amenity

incorporates a roof panel and that can be fitted to the Floergiseggenyorgy in just 10 minutes. All while the standard roof is stored comfortably in the front luggage area. At destination, unbolt the uber-box and wheel it to your room, or lounge, or wherever you kids drink the cognac these days. This much needed feature for the special tax avoiding demographic means we can all sleep in until 8:45, be on the slope by 10:05, and enjoy the remainder of the day properly reciting Swedish Chef haikus..Yorgen florg.

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Audi’s kidded down, half-scale replica of the 1930’s grand prix racer, the Auto Union Type C

e-tron type c Top speed of 29 kph, a whopping range of 24 kilometres and charges in only two hours? Hardly the future of transportation, this scaled down version is in fact a beautifully stylized toy from Audi. The company has created this electric-powered, half-scale re-creation of the Auto Union Type C, grand prix racer of the late 1930s. Sans peddles, the open cockpit racer is instead fittted out in e-tron

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guise, applying the moniker from Audi’s adult line of EVs ie. the new e-tron Spyder. This version, intended for kids of all ages, was on display at the International Toy Fair in Nuremberg last year. There is no plan to produce the ride nor is a price provided. However with a carbon fibre body the MSRP would most likely exceed a two year old A4. Still pretty cool for next year’s Xmas party.


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architectural e 64


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la’s rebel arc on innovation playing the game & morphing it PRITZKER, LOS ANGELES, ARCHITECT, trouble maker, MORPHOSIS founding, REBELLIOUS, BEARDED, WHITE MALE, ACCRETIONAL, INNOVATIVE, GENIUS, RIGHT HANDED...ladies & gentlemen, THIS IS thom mayne

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chitect n, game, out

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While the vast majority of architect the artistry beaten out of them by r bouts with ultra-conservative plann clients and politicians, thankfully s visionaries just won’t bend to the co will of the uninformed masses. The r can be witnessed as some of the mos buildings standing today...

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Love them or hate them, Frank Lloyd Wright’s New

describes them as indefinable. “If you could define them

York Guggenheim, Toronto’s stick-legged Sharp Center

then I wouldn’t have to build them. Like art, my buildings

for Design by Will Alsop, Gaudi’s Sagrada Familia

will mean many different things to many different people.

in Barcelona or Richard Rogers’ and Renzo Piano’s

It’s creative work, an interaction between subject and

Pompidou Centre in Paris were dreamed up by the

object. A building should create a response: what that is,

inspirational minds of single minded architects.

how violent it is depends on the individual.”

One such current architectural luminary is Thom Mayne,

When pushed to describe his work, or design style,

founder and principal of Los Angeles based Morphosis.

Mayne becomes agitated. He talks around the subject of

Now 65, he has been designing sharp, angular, angry

architecture and its wider influences but doesn’t touch

buildings that challenge preconceptions of what an

upon form or function: he gives reasons for designs

office, school or hospital should look like for over 35

but won’t be drawn on an aesthetic. “All of my work

years. If buildings could talk, Mayne’s would scream. He

is shaped by the wider society, the fragmentations,


ts have repeated ners, some ollective results st exciting

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BY WILL JONES | IMAGES BY MORPHOSIS

multiple influences and ideas that

by the nature of how you discuss

work upon it,” he says. “Society

these challenges, how you

is in a continuous state of flux, of

approach problems and the type

unfinishedness. Cities are dynamic,

of questions that are asked: this

partially complete or in the process

is what creates the architecture.

of death and rebirth, so how can

Less enlightened, less adventurous

we create exquisite monuments to

clients are scared of that.”

architecture? My buildings echo the dynamism of their locations, the nature of their use, and the vision of their owner: they have an implied movement, a trajectory that the viewer or user is left to contemplate and complete.”

A project that most openly demonstrates Mayne’s fragmented conflictual architecture is the Cahill Center for Astronomy and Astrophysics at the California Institute of Technology (Caltech) designed 2004-07. The university

With this complicated rationale

is renowned for pioneering new

Mayne struggled for a long time

ways of observing the skies. Its

to find clients who would trust

scientists and engineers have

his radical architectural instincts.

made fundamental discoveries

Morphosis’ first projects in the

such as the cosmological nature

1970s were small yet idiosyncratic:

of distant quasars and, in 2007,

a corrugated steel extension to

the largest object orbiting the

the roof of the Delmer residence,

sun since the discovery of Pluto

a bungalow in Venice Beach,

in 1930. They are true forward

California; and, a box-like studio

thinkers and yet, over the decades,

with quirky window detailing at the

the various disciplines have

2468 House, also in Venice Beach.

dispersed across the Caltech

“Not everyone is enlightened about architecture, similarly art

campus, losing touch and so interaction with each others.

and politics, but they all have an

The Center for Astronomy and

opinion,” he says. “My work is

Astrophysics building is designed

conflictual, just as heterogeneous

to bring together a dozen of these

cities or societies are. It picks up

diverse scientific groups into a

on the micro and macro of the

single environment to encourage

world, mirroring society and its

collaboration and spontaneous

many complications, dangers and

discourse. The building’s fractured,

excitements…The aesthetic end

fragmented façade is symbolic

product is a by-product of this

of the multi-disciplinary nature of

thinking. The building is informed

research at Caltech, while inside www.morphopedia.com

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Mayne has created an inhabitable

Following initial smaller residential

appreciate the fathers of Modernism.

telescope via a vertical volume that

projects, Cedars-Sinai Comprehensive

“Stirling’s designs, those of Le

pierces the building. This central

Cancer Center in Los Angeles (designed

Corbusier and the early work of Mies

public space links earth and sky, even

1986-87); the Diamond Ranch High

van der Rohe were all about asymmetry,

as it links person to person, scientist

School in Pomona, CA (1994-96); the

breaking down the 19th Century views

to engineer within the campus. The

University of Toronto’s graduate student

of building. I am interested in that kind

building’s form, its aesthetic, is a

housing (1997); and, Caltrans District

of architecture, in anything, that is truly

product of the reconnected thinking, the

7 HQ in Los Angeles (2001-04) all

of its time.”

inspiration within.

display Mayne’s and Morphosis’ radical

Mayne formed Morphosis in 1972. Working out of Los Angeles and more recently New York, the practice

design style, a style that challenges the formality and static nature of the Modern Movement.

This independent spirit is born of an education in the 1960s. Influenced less by architects and more by artists and writers such as Laurie Anderson,

has a wide portfolio of buildings,

“We want to break with the Cartesian

Jasper Johns, Duchamps and Milan

many of which are, surprisingly, civic,

to create a new dynamism,” explains

Kundera, Mayne struggled to hold down

educational or healthcare facilities.

Mayne. That is not to say he doesn’t

architectural jobs due to his ‘impulsive e 71


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Perot Museum of Nature & Science Location: Dallas, Texas Client: Museum of Nature & Science Site Area: 4.7 acres / 1.9 hectares Size: 180,000 gross sq ft / 16,722 gross sq m Program: Museum of Nature and Science with galleries, theater, cafĂŠ, store, education, and office programs Design: 2008 - 2010 Construction: 2010 - 2013 Type: Cultural

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NEW US EMBASSY, LONDON, UK Client: United States State Department Site Area: 4.9 acres / 2.0 hectares Size: 430,557 gross sq ft / 39,999 gross sq m Program: A consular section including a Grand Hall; a diplomatic area with Glass Dome, Gallery, Multipurpose room and Main Lobby; and an administrative section with offices, conference rooms, cafeteria, terraces, recreation center and retail. The landscape design presents two new significant public plazas, a consular garden, and a formal courtyard, as well as multiple security measures to safeguard the building and its grounds. Design: 2009 - 2010 e 74


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spirit’. He took solace in teaching

down the gauntlet to New York.

and that is where he met many

Manhattanites are currently trying

of the people he went on to work

to work out what they make of

with.

his latest completion, 41 Cooper

In 1972 he helped to found the Southern California Institute of Architecture (SCIA). Since then, he has taught at Columbia and Yale, the Berlage Institute in the Netherlands and the Bartlett School of Architecture in London to name but a few. Currently, he holds a tenured faculty position at the UCLA School of Arts and Architecture. “From the age of about 26 until my late 30s I was finding out who I was and that is what shaped my career. The same people who were in my classroom at SCIA were also in my office. We were a band of LA architects and lecturers who grew together, critiquing each others’ work and shaping our outlook on life through continual discourse.” The result is that Mayne now views architecture through the eyes of an artist or intellectual and describes his work not in ‘concrete’ form and function but as, “actively broadening the cultural and political agenda, of confounding expectation and challenging the norm”. Most recently, Mayne has thrown e 76

Square. A new academic center for the Cooper Union, this manifestation looks in daylight like a giant boulder, cracked down its middle to reveal a giant fissure. A perforated stainless steel façade undulates and ripples, while lights from the interior shining through to give the building a new transparent feel at dusk. It is an undoubted architectural statement, designed to “manifest the character, culture and vibrancy of both the 150 yearold institution and of the city in which it was founded” but 41 Cooper Square is also almost anti-building, a barely disguised, rebellious 1960s ‘fuck-you’ to the conventional stone and glass clad neighbours that abound on Manhattan Island. “People should perceive architecture as a creative art or act,” says Mayne. “They should see it as dynamic, instant and exciting. Like a radical artwork, my architecture will always offend some people but there will be those that love it, too.” For all of his spikiness and unbending will, Mayne


has slowly gathered an eager

architectural honors, including the

than building monuments, it should

following. Morphosis has been the

Edward MacDowell Medal (2008); the

be a link to the rest of our world.â&#x20AC;?

subject of various group and solo

AIA Los Angeles Presidential Award

exhibitions throughout the world,

(2007); and the Pritzker Architecture

including a large solo exhibition

Prize (2005).

at the Centre Pompidou in Paris in 2006. Drawings, furniture and models produced by the practice are included in the collections of the MOMA in New York, the MAK in Vienna, the Israel Museum in Jerusalem, and the FRAC Center in France. Mayne and his practice have also picked over one hundred

This is a big ask in our world of uninspiring play-it-safe architectural benefactors, who favor cities

But these honors mean nothing if

crowded with glass monoliths and

Mayne can not get his architectural

suburbs cluttered with twee pattern-

message across. â&#x20AC;&#x153;I want to look back

book housing. However, give Mayne

in 500 years; look at architecture

and his visionary contemporaries

and see it reflecting the political,

a chance and we might just leave

social maelstrom of the 21st Century.

behind some architecture that

Architecture should be about more

will excite, annoy and engage generations to come. e 77


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ASIAN FUSION

3 unique Asian architectural projects ranging from tsunami inspiration to dayschool to residential minimalism are presented photos by Sergio Perrone

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F LOOPTECTURE F Project: Looptecture F by Endo Shuhei Architect Institute

Brief: Looptecture F, located in Hyogo prefecture Japan, is used to control all the floodgates located at port of Fukura and as a place of refuge in case of the Tsunami warning. Designed by Shuhei Endo, it is wrapped by a 7.3m corten steel continuous belt that goes round the structure, starting and ending at the same point and crossing the centers of 6 circles.

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day nursery picc Day Nursery Piccoro by Atelier KUU Co. Built behind the hospital in Himeji city, Japan, Day Nursery Piccoro serves as the child care facility for the staff of the hospital. The single level white construction is literally tilted up on one side to frame the camphor tree in front of the site. It houses a few rooms for play, napping and kitchen. Atelier Kuu was commissioned to design this nursery.

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coro

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villa kanousan Project: Kanousan by Yuusuke Karasawa Architects

Brief: Kanousan, the first work of Yuusuke Karasawa, is tucked away in the greenery of Kanou Mountain, in Kimitsu, Chiba pre-

fecture in Japan. The simple cubic mahogany structure hides a chaotic interior that is used as weekend house for the client. The seemingly random voids in the 2-storey residence are a result of extracting 6 cubes each rotated at different angles, from the center and the 5 visible sides of the villa.

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Jurgen Mayers latest purgola-inspired waffle cone radically changes up the Sevillian skyline

metropol PARASOL Photos by: David Franck & Fernando Alda

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April 2011 marked the completion of J. MAYER

mushroom, or waffle maker.

H. architects ultimate pergola, the Metropol Para-

The role of Parasol is to act as a place of iden-

sol. The Redevelopment of the Plaza de la Encarnacíon in Seville, Spain has now become the new landmark for the city. It is commonly now known as Encarnacion’s Mushrooms.

tification and to articulate Seville’s role as one of the world´s most fascinating cultural destinations. Metropol Parasol explores the potential of the Plaza de la Encarnacion to become a new con-

With dimensions of 150 x 70 metres, an approxi-

temporary urban centre. Designed to provide light

mate height of 26 metres and site area of 18,000

and shelter in Seville’s sweltering summers, Para-

square metres, Parasol now claims the title of

sol creates a dynamic environment throughout its

largest wooden structure in the world…or largest

expansive footprint. Sculptural meets functional in

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unique geometric dance of light and shadow as sight angles and impressions change depending on where you locate in relation to the king of waffles. Its role as a unique urban space within the dense fabric of the medieval inner city of Seville allows for a great variety of activities such as memory, leisure and commerce. A highly developed infrastructure helps to activate the square, making it an attractive destination for tourists and the locals. The Parasol concept, with its impressive timber structures offers a mixeduse archaeological museum, a farmers market, an elevated plaza, multiple bars and restaurants underneath and inside the parasols, as well as a panorama terrace on the very top of the parasols. Realized as one of the largest and most innovative bio-morphic structures, Parasols’ bonded timberconstruction with polyurethane coating, grows out of the archaeological excavation site into a contemporary landmark, and defines a unique relationship between Seville’s historical and its contemporary. Mayer’s unique blend of art and architecture in a waffle cone setting allows Metropol Parasols character to present a dynamic environment to both Seville’s cultural nature and its burgeoning waffle industry.

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‘the form of this building was inspired by the vaults of Seville’s expansive cathedral – I wanted to create a “cathedral without walls” that would be “democratic” – and also by the handsome trees already in the square.’’ -Jürgen Mayer H

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Project: Metropol Parasol Redevelopment of Plaza de la Encarnacion, Seville, Spain Function: archeological site, farmers market, elevated plaza, bars, restaurants Site area: 18,000 square meters Building area: 5,000 square meters Total floor Area: 12,670 square meters Number of floors: 4 Height of the building: 28.50 meters Structure: concrete, timber and steel Principal Exterior: timber and granite Principal interior material: concrete, granite and steel Designing period: 2004-2005 Construction period: 2005-2011 Building/Cost: 90 Million Euro

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fantasticAL norway!

Striding through the architectural wastelands of Europe, clad in black pants and monotone roll-neck sweaters, comes a group of young Norwegian architects bent on challenging the mundane & saving small communities from developer Neâ&#x20AC;&#x2122;er-do-wells by Will Jones

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Floating on the waters surface of Aker Brygge, where Oslo meets the fjord, the Sirene restaurant is designed with layers of flexible & transparent facades so as the tide changes, so does the buildings facades. Keying off the aesthetic of local sail boats, Sireneâ&#x20AC;&#x2122;s primary components consist of series of narrow columns & large transparent canvases.

Sirene Restaurant


Is it a bird? Is it a plane? No, it’s Fantas-

This unique way of working has led

tic Norway! Striding through the archi-

to the practice being commission to

tectural wastelands of northern Europe,

design Brønnøy Kunstbase, a new

clad in black pants and similarly mono-

contemporary arts studio and exhibition

tone roll-neck sweaters, comes a group

building in Helgeland, Norway. Fantastic

of young architects bent on challenging

Norway got wind of a much loved public

the mundane and saving small com-

space that was going to be turned into

munities from being devoured by fat cat

a shopping mall. They mobilized the

developers.

caravan and, teaming up with local

“We started by traveling around Nor-

artist Vibeke Steinsholm, set to work

way to small towns and villages where there were no architects and where things didn’t look good. We talked to the public and local authorities and tried to work with them to make their homes,

campaigning to get the development stopped. Local TV and newspapers wrote about their plight and eventually the local authority dropped the private mall scheme in favor of Fantastic Nor-

their public realm, their lives better,”

way’s cultural project.

says partner Håkon Matre Aasarød. “We

“We thought it was very wrong that the

didn’t work like many other practices,

public space was to be lost and we

doing competitions. We went out and

believe that small towns like Helgeland

found what had to be done. Our mis-

need cultural input in order to retain

sion is to solve the problematic with the

and attract people. Our arts project is

fantastic, and we come from Norway,

a building but it will also build identity,

hence the name.”

it will enhance civic pride and bring the

While Superman soars through the sky,

community together,” says Aasarød.

arm outstretched, Y-fronts pulled way up high, the first sighting of Fantastic Norway is a little less dramatic but no less memorable. They travel in a bright red caravan (mobile home). Serving as

“Places are stitched together by the stories, the lives and interests of people living there. We can’t let everywhere become homogenized, the same. We have to embrace local identity and through

a mobile office, the comical looking ac-

dialogue transform it into architecture.”

commodation is the exact opposite of

Founded in 2004 by Aasarød and

where you’d expect to find an architect

Erlend Blakstad Haffner, the practice’s

and as such it gives the practice an air

ideals seem very altruistic. Their mission

of approachability. It also allows Fantas-

statement preaches “ambition to create

tic Norway to experience first hand the

an open, including and socially aware

communities they visit: “to discover the

architectural practice and to re-establish

silent knowledge of places”, says Aas-

the architect as an active participant

arød. “The stuff you don’t find on a map

and a constructor of society”. Fantastic

or in a book, the important details that

Norway has been proclaimed “Archi-

make a place peculiar and special.”

tects of the Year” at the Oscar Han-

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fantastic norway

print out trailer, origami up the trailer, desk the trailer, now you are norway cool

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sen Symposium in Bergen, Norway in 2005 and received

project may be, he has many tricks. Fantastic Norway are

the FAD Medal of Honor for Best International Practice in

talented cartoonists as well as architects. More easily un-

Barcelona, Spain in 2007. The practice exhibited at the

derstood by the public, artistic and beguiling, cartoons get

international pavilion in Venice at the 2008 architectural

the message across far quicker and simpler than any text

biennale, too.

document or formal architectural drawing can do.

It all sounds almost too worthy but Aasarød and Fantastic

Most recently, the practice has taken a building on tour.

Norway see it as a different way of advancing their designs,

Figuring that their latest project, a tourist destination in

and they aren’t without a sense of humor. “Think of archi-

Norway was all about travel, Fantastic Norway decided to

tects as two different types of dog,” laughs Aasarød. “The

take it traveling before it was built. They made large models

first dog will fetch a stick if it is thrown but the second will

of the building and wore them, yes dressed in them, before

seek out game and flush it out for the owner to shoot and

doing the sights at the DMY International Design festival

eat. We are that second dog!”

2009 in Berlin. The practice also sells branded t-shirts and

And, if you offer this second dog a treat, the sniff of a

flip flops on its website: there is even a print-out-and-make

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little red caravan to download. This may sound a little superfluous in the serious world of architecture but what it does is engage the public and get them to think more about design and the built environment. “The promotion of architecture and improving our public spaces is something we believe in wholeheartedly,” says Aasarød. “And, to that end, we are now swapping our caravan for TV.” The practice founders have been commissioned by Norwegian television to make a series of programs about architecture and they see it as the perfect chance to spread their message wider. “Architecture is not solid but about ideas and we want people to realize that good or bad these ideas make a difference to our lives. We want to tell them don’t take your surroundings for granted.” In this ever more globalized world the local is losing out to the international, the corner store is being trampled into oblivion by the shopping mall. Fantastic Norway, quirky practice that it may be, wants to make us stop for a moment and take stock of the situation. It wants us to appreciate our regionality, our local identity, and take the best idiosyncrasies from it to make the most of our built environment, and in turn our lives. Not bad for superheroes who travel by caravan!

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fantasticALnorway . PROJECTS!

project 1

House of Families A building for disadvantaged young women with children in Nuuk / Greenland. The project is part of an overall strategic plan for the Nuuk center called “Middle of the world, the middle of Nuuk”, led by Dahl & Uhre architects and TNT Nuuk architects. Invited into the over all project were also MDH architects & Fantastic Norway. 42 architects + Regionalassociates. M: ARC + + Arkitekti Helena Lennert were also invited as guests in this project. The client is the Greenland Home rule and Kommuneqarfik Sermersooq.

PROJECT :: The house’s main task will be to teach families and mothers to fend for themselves, enabling them to live an independent life. The building will appear as inviting and protective, safe and friendly. The building mass is broken up into smaller building volume. This way the building is perceived not as a large institution, but rather a composite of many small houses: Of many families. Beyond this, the building also protects the outdoor areas against a rough climatic situation. The building mass is dense and closed towards the north. The outdoor spaces are also protected from the wind and rain from the southwest. Towards the south the building breaks up and lets light and greenery into the park in front of the building. Further on the “House of Families” has a thorough ecological profile. The building is self-sufficient with heating, passive house technology, solar panels and water heating. A technological management system regulates and controls the energy consumption.

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OSLO WATER PARK

fantasticALnorway . PROJECTS!

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The project “Oslo Water Park” is an initiative with ambition to transform the Stubberud area into a significant water park for the east side of Oslo. The over all ambition is to revitalize Grorud Valley and people’s perception of the area. The project was initiated by Knut Halvor Hansen (Anthon B Nilsen Eiendom AS). The initiative’s primary purpose is to redeem some of the key points enshrined in the

public document “Groruddalssatsingen” and to give residents in the valley of the collective promise they both need and deserve. The Stubberud area is placed central in Grorud Valley and have several qualities that makes it well suited as a priority area: It has a majority of municipal properties with secure contracts, providing a rare opportunity to a large and comprehensive projects. The site’s central location, close to existing

– and future metro stops, e is no need for significant c infrastructure. The water park will be a va with “water” as the main th feature a wide range of wa suitable for a broad, multic This includes: Arenas for w recreational areas, sports a learning contexts and cultu


ensures that there changes to existing

ariety of public parks heme. The park will ater-based activities cultural audience. water sports, arenas and exercise, ural activities. The

projectâ&#x20AC;&#x2122;s environmental strategy, is to cleanup existing conditions and establish a new green cross connection over Grorud Valley. The desire to revitalize Grorud Valley is present both locally and in the public sector. But due to the areaâ&#x20AC;&#x2122;s complexity and the absence of a large common project, the projects realized in the area have not had a significant impact.

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fantasticALnorway . PROJECTS!

PIXHEAT Pixheat is an interactive furniture devise that aggregate heat and light. The modules are lit â&#x20AC;&#x201C; and heated when in contact with people. The foundation, which the furniture module is mounted on, are steel pipes that easily can be customized in relation to the site. The furniture can light up narrow streets, taxi-stops and major public spaces.

In a cold climate heat is important, both physically and mentally. At the same time, in an environmental perspective, it´s important not to waste energy by heating and lighting up more than needed.

Together with the users of theese spaces we want this furniture to reflect activity and decorate public spaces with light and heat in the interaction with the people using it.

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MOEBIUS Transe Forme

Legendary French artist/illustrator Moebiusâ&#x20AC;&#x2122; last show in Paris illustrated his extraordinary range & fantastical inner workings e 117


MOEBIUSTRAN Exposition 2010 | Foundation Cartier pour l’art contemporain

THE SHOW

Back in October 2010, in the throes of the global recession, France’s Fondation Cartier presented MOEBIUSTRANSE-FORME, a major exhibition featuring the work of the legendary artist Jean ‘Moebius’ Giraud. Renowned for his futuristic landscapes, hybrid creatures and hyper-elaborate spaceships, Moebius’ works ranged from the bizarre to the metaphysical to the whimsical. This past weekend however Moebius passed away after a courageous battle with cancer. This feature story ironically has been in the works for two years, so we feel fortunate that we are able to properly honour Moebius’ works in this new issue in a manner befitting of his talents and influence (1938-2012). Photos: Olivier Ouadah

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NSE-FORME

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A POLYMORPHIC OEUVRE For some fifty years, the brilliant Giraud worked to develop a broad palette of styles, ranging from the detailed realism of the 60s Blueberry to the fantastical drawings of Arzach and 40 days dans le Désert B. Known throughout the world as one of the great rebel yells in the industry, Moebius’ work has been profoundly influential over the past thirty years in the realms of science fiction, animation, advertising, 3-D film, video games and movies. Major film directors with whom he would later collaborate such as Luc Besson (The Fifth Element, Diva), James Cameron (Abyss, underwater creatures), Steven Lisberger (Tron, costumes), Ridley Scott (Alien, costumes) and René Laloux (the animated feature film Les Maîtres du temps) all became familiar with his work through his drawings.

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“MOEBIUS IS THE PRODUCT OF DUALITY”

“MOEBIUS IS THE PRODUCT OF DUALITY”

- MOEBIUS

- GIR

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THE SHIFTING ARTISTIC IDENTITY

Gir and Moebius (both pseudonyms of Jean Giraud), reflected his own shifting artistic identity. Mr. Giraud first used ‘Gir’ in 1963 when he collaborated with JeanMichel Charlier on Blueberry, a highly popular Western comic series. At that same time, he published his first series in Hara-Kiri under the pseudonym Moebius, a name inspired by the German mathematician and astronomer famous for discovering the infinitely looping Moebius strip. The artist viewed the dual nature of his identity as similar to the way that the Moebius strip joins its two sides to form a continuum. “Going from Giraud to Moebius, I twisted the strip and changed dimension. I was the same, yet I was another. Moebius is the product of my duality,” Giraud once noted. “Gir and Moebius each exist within their own world views and their own styles. Gir is the author of classic Hollywood Westerns, whereas Moebius explores the worlds of dreams and science fiction. Gir adheres to the traditional narrative forms of comic strip art, Moebius, on the other hand, transgresses these conventions. While Gir uses

“MOEBIUS IS THE PRODUCT OF DUALITY”

photography and film as his source to portray landscape and characters of the West with baroque details, Moebius employs techniques related to the surrealist dessin automatique to create a world in constant flux.”

- GIRAUD

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mutating the forms

Throughout Moebius’ work run many stories of ever-changing forms. In Le Garage hermétique, Le Monde d’Edena and L’Incal, forms are porous and constantly change from one state to another. Human, animal, plant and mineral elements dissolve and merge. Moebius’ metamorphoses include any number of incongruous disruptive mutations: beings become petrified and disintegrate, men become women, the young turn old, spaghetti-like forms or hideous protuberances invade the body. Metamorphosis is not only present in the artist’s top left:

drawings; it also plays a key role in the creative process that Moebius

Preparatory image from the 3-D

developed over the years. Intense metaphysical experiences lead him

animated film La Planète encore, 2010 (detail) © AngeleFine Productions and Moebius

to explore the bizarre and the fantastic, and where through his draw-

Productions. 3-D image: BUF

ings he challenged the laws of reason and plausibility.

top middle:

SCIENCE & the pURSUIT OF METAPHYSICS

Gir, portrait of Blueberry, 1973 © Mœbius Production top right. ARZACH, 1995 Gouache and acrylic on paper, 36 x 24.3 cm © Moebius Productions opposite page: Mœbius, Box Office, 1994 Mœbius Production

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Moebius’ fascination for transformation revealed his observational passion for science and nature. An aficionado of astrophysics, genetics and philosophy, Giraud’s pursuit of metaphysics and his inquisitive nature into the origins of the universe, and the human race, is visually emblazoned across our minds as we’re allowed to journey through his imagination. elemente


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â&#x20AC;&#x153;Gir & Moebius each exist within their own world views & their own sty explores the worlds of dreams and science fiction. Gir adheres to the tr hand, transgresses these conventions. While Gir uses photography & fil baroque details, Moebius employs techniques related to the surrealist d

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yles. Gir is the author of classic Hollywood Westerns, whereas Moebius raditional narrative forms of comic strip art, Moebius, on the other lm as his source to portray landscape and characters of the West with dessin automatique to create a world in constant flux.â&#x20AC;? - jean giraud

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OF PAINTINGS, DRAWINGS & FILM Produced in collaboration with Moebius Productions,

of Moebius as both author and illustrator. With its

the exhibition at the Fondation Cartier presented

mythical drawings, original black-and-white plates,

a collective of the artist’s work, including; original

compositions in hypnotic colors and unpublished

notebooks, comic book panels, and paintings, as

storylines, the book offers an introspective look into

well as several previously unpublished drawings. A

the enigmatic world of Moebius.

sound installation mixing the artist’s voice with sound

With over 400 pieces, MOEBIUS-TRANSE-FORME

effects inspired by Moebius’ work guided visitors

provided visitors a unique opportunity to discover

through his many worlds.

the work of this remarkable artist who continuously

In addition to the animated film La Planète encore,

pushed back the limits of form in search of new

another

horizons.

film

entitled

MÉTAMOEBIUS,

Giraud-

Moebius Métamorphoses, offered an unexpected

In losing Moebius, pen and paper have lost a great

portrait of the artist as an actor in his own screenplay.

champion of the fantastical. elemente extends its

Conceived as a continuation of the exhibition, the

condolences to the Moebius’ family & foundation on

catalogue discloses a new aspect of Moebius’

his passing.

scientific concerns through a previously unpublished interview in which ‘interwoven dreams’ become a ‘world without hope.’ A veritable survey of the Moebius manifest, the book

Source: Fondation Cartier PF2051 right.

published in conjunction with the exhibition, included

Cover for L’HOMME DU CIGURI, 1994

some 250 documents that trace the entire career

Airbrush and mixed media on paper, 39 x 29.5 cm

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â&#x20AC;&#x153;Going from Giraud to Moebius, I twisted the strip and changed dimension. I was the same, yet I was another. Moebius is the product of my dualityâ&#x20AC;? - Moebius e 129


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light* painting Painting objects through the magic of the Maglite photos by Angus MacKenzie

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LIGHT PAINTing 1.0 location: Southern Alberta what:Alt night shooting

tools: Pentax K10D, MagLites (x3) Coleman LED, tripod

method: 10-20 seconds, iso 200, F5.6 Pre-select highlight points before opening shutter, open shutter, focus maglite on select areas for 3-5 seconds painting on and off key areas for desired effect. Much experimentation reqâ&#x20AC;&#x2122;d.

Prints for sale. on select mediums, upon request

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BLACKSHEEP STUDIOS re-imagines PETER PAN & his LOST BOYS in a Nazi infested, illustrative environment

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You’ll believe a boy can fly, or excuse my comic book metaphors, believe a Conan O’Brien quaffed boy can fly in the face of Nazi oppression. For many fanboys of today, Peter Pan isn’t exactly up there on their ‘must have’ list of nerdom collectibles, but back in the day, the day being pre-1960, a young lad in green tights, pointy cap and slip on booties, battled and fought with a hook handed Captain. His allies at the time being other young lads of equal disposition and a miniaturesque fairy type creature named Tink. You’d be excused for thinking this concept was of the rainbow admiring demographic were it not for the innocence of which it was born. e 142

However, enter good friends of elemente, Blacksheep Studio and Kurtis Wiebe, add a hint of WWII, dash of Nazi, the odd M1 Carbine, and you have a modern remix of the classic Peter Pan tale. Launched this February by local Calgarian Tyler Jenkins of Blacksheep and writer Wiebe, this mash-up of old meets older provides for an interesting WWII illustrative cage match. For those non-WWII nerdlings, a Panzerfaust was a one man anti-tank weapon, politely referred to as a ‘tank fist’ by the goose stepping type (see what the comic kids did there). Clever. Actually I didn’t make the connection between the skort wearing Pan and the tank-fisting Pan


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until I read the press release. I blame Archie and Veronica for my illustrated slowness on the remix. In this new version, Peter and his rag tag band (always a favourite moniker of the underground movement) are illustrated up in Calais, France, circa 1940 WWII where they are storied out as a group of kids fighting the much disliked Nazi occupation. Peter trades in his sword for a carbine and fortunately gets a fashion upgrade in the form of period piece long coats, oversized Conan O’Brien hairstylings, khaki slacks and finished off with a certain masculine joie-deviver. Subbing in for the dainty sword is now the much manlier, tank spanker the Panzerfaust. Besides, what self respecting Nazi would respect a kid in green tights with a kids sword? The 1953 cartoon movie was artist Tyler Jenkins’ (Blacksheep Studios) primary gateway into the story, although “I always thought Peter was a bit of a spoiled brat in that version,” he says. “Hook and Smee were more captivating, and I thought Tiger Lily was badass.”Also, Hook (Dustin Hoffman) was a pretty great movie, but again I much preferred Captain Hook. Way more interesting,” states Jenkins. Three years ago, Wiebe was having an e-mail session with Jenkins as they were trying to come up with a new concept. Jenkins mentioned a Vietnam-era story he’d heard of where a group of kids were waging guerrilla war in the jungles, adding ‘they were something like the Lost Boys from Peter Pan’ but in a VC setting. Wiebe, a fan of historical events and Band of Brothers, began to see a concept. “I started to see a very interesting way I could take elements of real history and combine them with plots and characters from the Peter Pan mythology,” he says. “From there, it grew into something larger.” The original Peter Pan acts as the initial framework for the series. As one of those French youngsters, “Tootles,” recalls his and the other orphans’ “fantastic story” alongside the mysterious Peter.

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“I write Peter to be brash and adventurous — he involves himself in dangerous situations because he is a thrill seeker,” Wiebe explains. “He’s different from the Pan of the book as I’m dialing down the arrogant nature he initially portrayed. I want our Peter to be a character you’re both shocked at for his recklessness, but also adore because you want to be next to him when the sh*t hits the proverbial fan.” Wiebe sees that same Peter Pan spirit in many of today’s modern heroic characters. “Peter is very much like those figures that do the right thing and walk a path based on their own moral compass. Pan has a good heart, but he’s a bit mischievous and foolhardy.” Just like the original Pan, sans leotards. And whereas the original Pan lived in an era of romanticized innocence and fantasy, this version deals out a more matured version of the story. In this iteration however, Panzerpants Pete smiles in the face of death, violence and adversary in a more real world scenario than before….hence the jaunty hair. (fact. jaunty was a term used to describe large, angular French hair in the 40s) The illustrative stylings and graphic tone in PP emanates both a sense of danger but at the same time an environment of inquisitive playfulness. Both dark and playful Jenkins’s art panels artfully communicate Wiebe’s storytelling in a wonderfully symbiotic way. The graphic novel/pulp fiction stylings resound of a young River Phoenix ala Indiana Jones, before Harrison Ford was old. “Our take on Peter allows us to present him and a few of the boys personifications into what I believe in: bravery, honesty, duty, etc. — all those powerful, turn-of-the-century ideals to make him something as interesting, to me, as Captain Hook,” adds Jenkins: Mr. Panzerfaust’s American past will slowly be unleashed on the unsuspecting public as the series proceeds. “There’s a real character-motivated history to the plot in our series,” claims Wiebe. And of course the villainous Captain Hook is back as a critical story element as a part of Hitler’s SS. Sprechen zi strudel heir Peter? For Jenkins, Captain Hook needed to be Pan’s yin to his yang, or whatever the German version of this may be. “We needed to communicate/illustrate the same ideas of bravery and heroism, but in the anti-thesis form of dark and evil,” says Jenkins. The artist likened Hook to some of Indiana Jones favourite villains, as well as Grand Moff Tarkin (you’d be evil

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“Peter is very much like those figures that do the right thing and walk a path based on their own moral compass. Pan has a good heart, but he’s a bit mischievous and foolhardy,”

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too if your mom named you Moff) in Star Wars, and Basil Rathbone as Basil Rathbone. The first issue released mid-February sold out first run, before elemente had a chance to pick up a signed copy. Luckily through the power of the interwebs, we managed to secure a PDF version prior to print. Being past my prime of comic book appreciations, I hardly qualify as an ideal fanboy critic. However, given the initial storyline, plot, illustrative presentation and packaging I’d have to give it 8.5 panzerfausts out of 10. According to Wiebe, “These are the classic stories we’ve grown up with and we never really outgrow. We appreciate them for different reasons as we age. We feel a connection with the material. We love the characters and the mythology, and there’s something exciting about seeing these people experience life in new and interesting new ways.” This speaks to the strength and staying power of the classic fairy tales as Wiebe points out…with or without tank-fisting weapons. But more importantly, who will play Pan in the movie?

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4D Live Park

The worldâ&#x20AC;&#x2122;s first 4D AVATAR experiential art themed park opens to the Korean Public images by Live Park

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First there was Steam Boat Willy, then ColecoVision, then... ...PacMan, and then a small blueish film named Avatar. With the advent of all things 3D and blue from the vicarious world of film came the next great challenge, how to make Koreans blue and in 4D? Well the kids at the next gen entertainment lab ‘d’strict’, recognized as a leader in 4D technology, decided to step up to the motion rendered plate and develop a small holographic world known as ‘Live Park. Located in at the KINTEX in Ilsan, Gyeonggi-do, South Korea the new Live Park virtually does away with the passive theme park attraction. Designed to span and entertain all age groups keys off the much lauded Xbox Kinect technology, but with an extreme enhancement of sound, sight and experience. The 10,000 m2 space represents an investment of $13 million over 2 years and can accommodate up to 3,000 visitors at any one time or 10,000 visitors a day. Reports of parks being launched in Asia and North America are in the works. So for those of you in Texas, imagine 4D butter sticks and automatic weapon parks. Composed of 65 attractions, over 7 thematic stages, using state of the art 3D video, holograms and augmented reality technology helps visitors interact and create a seamless story. Visitors and their avatars move through the theme park’s stages interacting with attractions using RFID wristbands and kinect sensors to recognize their gestures, voices and faces –like World of Warcraft in your parent’s basement but better and there are actual girls…snork.

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â&#x20AC;&#x153;

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Each of the 7 themed worlds provides a varying degree of freedom and immersion, allowing spectators to experience the fourth dimension, in a real world environment

â&#x20AC;?


▲ Each of the 7 themed worlds provides a varying degree of freedom and immersion, allowing spectators to experience the fourth dimension, in a real world environment. The World’s biggest 360-degree stereoscopic cinema house ‘Live360’, is one of the site’s key attractions. Visitors run about the space shouting in symbiotic silliness with their avatar as they experience an immersive, hyperrealistic stereoscopic video game. In addition to Live360, spectators can meet the most advanced avatar game at the ‘Live square’, the World’s largest Projection Square that stretches out 150 metres. The Park is designed to make spectators feel the sense of freedom by expanding reality and immersing them into the fourth dimension, experiences until now, available only in movies or 3D holographic situations ie. Star Trek. Live Park virtually redefines a new genre of theme park, one capable of pushing the accepted limits of what entertainment can truly be. e 153


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▲| LIVE PARK ME NOW

Key Live Park experiences include: Ender Mirror: visitors create their own look-alike avatar and take photos by laughing at a mirror loaded with a ‘smile engine’ Live360: the world’s biggest 360 degree stereoscopic theatre. Shouting and running together alongside their avatars, visitors directly experience a realistic video game with multiple story endings Live Square: allows visitors to enjoy the world’s most advanced avatar game in the world’s largest projection square

Live Holo: holograms created by d’strict and artists including David Garrett, Boxer Rebellion and 2NE1 Syno Star Performance: visitors perform with their avatars in augmented reality on the hologram stage Mega Live Event – Live Park is transformed into an evening entertainment venue for events, and exhibitions with top DJs, artists, clubs, brands and fashion magazines

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TABLE CO b P ou UBL RP PHO TO ICA ORA boo tiqu GR TI TE ks e AP ON & . MA no SP GAZ HY CONSUL n- EC .W IAL INES pr RI TI TA of IN . NG TI it TE COFFEE . M ON . de RES sig T AR . KE n & TI NG


farmmedia

boutique publishing solutions

www.farmmediainc.com e 157


KOHLER: As I See It, #86 in a series “It’s a dogfight between classic lines and contemporary design.” FAUCET: Margaux TM SINK: Undertone ® 22" undercounter trough ARTIST: Mark Holthusen 1- 800 - 4 - KOHLER kohler.com/margauxfaucetca

©2009 Kohler Co.


Work in a Whole

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elemente issue #16  

elemente magazine (2006-2010) reborn in 2012 will focus on the creative industry & individuals from a larger, holistic perspective. Editoria...

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