The origin of this curious object made entirely of cardboard with paper highlighting the experience of the eBook.
Loving the packaging from Byredo.
B&W Studio is an award winning graphic design studio based in Leeds. With a growing reputation we deliver innovative branding
and design for clients across cultural and corporate sectors. The most successful design agency in the 2009 Roses Design
Awards and winner of the coveted Chairman’s Award.
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Lu was born in the Bei Jing, China in 1981. She left her hometown at 17 to explore the world. She gained her unique perspective growing up between an artist family in China and boarding school in the Leysin, Switzerland. After extensive European travel it was time to settle down. Since fashion had always been an interest she went to Paris, France, and studied to become a fashion designer. After two years at Parsons school of Paris, she left Paris to NY. She finished her bachelor degree at Parson school
of design, NY. She was the gold thimble winner of the fashion department in 2005. One piece from her senior collection was shown in the window of Saks Fifth Avenue at 2005.
After graduation, she felt the urge to try something new. This time, she chose to work as a fashion stylist. She worked with a well-known fashion stylist GK Reid, to help him working with high profile Hollywood celebrities. Fueled by a constant passion for fashion, art and creation, Lu travels back to China to produce her first collection and speaks to the world with her own translation of fashion and Art.
The x-ray serves as a means to explore mythological themes expressed through ancient objects. The shadow-worlds they occupy are informed by the black space surrounding the images, which in some instances becomes a vast nether world, and in others becomes the velvety ground of some kind of brain scan/portrait. The project’s title of History’s Shadow refers both to the literal images that the x-rays create as they are re-photographed, and to the metaphorical content formed by the past from which these objects derive.
All of the x-rays I have photographed were elements of previously existing archives made for the distinct purpose of art conservation. It was the process of culling through many thousands of them, of uncovering and bringing selected x-rays to light, which gave them their charge. To re-photograph these records, each was laid on a light box in a darkened room; the emanations of light were transmitted by long exposures onto color film. Rendering three dimensions into two is at the heart of the photographic process. With the x-ray, this sense is compounded, since it maps both the inner and outer surfaces of its subject. The mysterious images that result seem to encompass both an inner and an outer world, as the two-dimensional photograph brings us into a realm of indeterminate space, depth, and scale.
I view these x-rays as expressions of the artists and artisans who created the original objects, however many centuries ago; as vestiges and indicators of the societies that produced these works; and as communications from the past, expressing immutable qualities that somehow remain constant over time. What do these works of art from past cultures have to teach us about our current point in human history, or about our relationship to the past, largely formed through archaeology and transmission of cultural objects across national borders? The x-ray provides a filter and a means (much as perception itself is both filter and means) to read the intrinsic properties of these works, the trace elements with which these objects are imbued. They encourage an understanding- made through feeling and art, as well as science and reason- that both spans and collapses time.
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The environmental graphics were also inspired by some of Miller’s typographic explorations in his book Dimensional Typography. The signage typography has been physicalized in different ways, engaging multiple surfaces of the three-dimensional signs, appearing extruded across corners, or cut, extended and dragged through the material. Miller worked closely with Morphosis to integrate the signage into the building. The building canopy features optically extruded lettering that appears “correct” when seen in strict elevation, but distorts as the profile of the letter is dragged backwards in space. The cutouts in the lower half of the letterforms echo the transparency of the building’s surface “skin” of perforated stainless steel.
Miller’s program of donor signage is also uniquely integrated with the architecture. The lobby of the new building is a soaring sky-lit atrium that rises up nine stories through the building’s core and is dominated by staircases. A dramatic installation recognizing major donors animates the underside of a descending stairwell, the signage comprised of over 80 “blades” that cascade down the underside of the stairs, echoing the stairs’ downward motion. The typography is engraved on the front, bottom and reverse surface of each blade.
A similar typographic approach was used for a series of donor signs outside classrooms and offices. The rooms feature doors that are 10-feet high. The donor sign at each room’s entrance appears as a vertical stainless-steel bar that acts as a “corner guard” for the doors. The typography appears as though it has been dragged through the bar, so edges of the letterforms are visible on edges of the bar. When seen from the sides, these bars appear covered in patterns of black banding, another way to see letterforms.
Identification and wayfinding signage throughout the building use Foundry Gridnik in multiple materials and forms including etched glass, stone and stainless steel. An installation of donor signage on the building’s roof terrace appears as a “constellation” of names engraved in the paving stones.
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Born 1960 in Helsinki, Finland, Janna Syvanoja creates her recycled paper jewellery pieces, with an organically slow process, by curving each slice of paper around the steelwire, piece by piece to evolve its shape by itself. Printed paper to her has an additional facet of the information it contains. Transformed into graphical patterns on the surface of her pieces, one can only see make out the words and letters that contained messages and expressions, very much what the artist wishes her jewellery is worn for.