When people are over lounging around on our couch, I very much enjoy uninterrupted conversions. This table “Be Here Now” visualizes this sentiment utilizing over 300 imbedded compasses. The magnetic custom porcelain expresso cups entice the compasses underneath to go wild and point to each cup placed on the table.
Isabro Ortega is a self-taught woodcarver, has been working on his home in Truchas, New Mexico, for 30 years.
“Oh, I do sing a lot of Penitente songs when I am working, but the British invasion has always been my inspiration,” he says. “I had never seen longhaired people, my dad always gave us haircuts and we were always bald. It was amazing to see all these longhaired people with a lot of talent.”
Read more of A Home made with Love and a Small Utility Knife at the NY Times
Love Letter to Plywood by Tom Sachs, Directed by Van Neistat. 2012
10 Bullets. By Tom Sachs, a compilation of 10 shorter films, the first being “Working to Code” all designed for members of the Tom Sachs studio team. Required viewing for all employees and studio visitors.
Color focuses on the comprehensive colour code for the Studio.
The best bit is the Colour Blue bit that starts around 12:50. ‘Since NASA’s PMS 286 blue is so dopey, we took license to make it more badass’ Ha Love that they hate purple too!
I missed it when Hell of the North opened where Lambs Go Bar used to be in February. It’s an infinitely better bar name, referring to a rugged section of the Paris Roubaix. Lovely work from Melbourne architects SMLWRLD, click through for more photos, or better yet go in for a drink.
The Contemporist: In close collaboration with clients Adam Ferrante (Rose St Artists Market) and Mark Grixti (The European / Supper Club) architects SMLWRLD set out to discover a new relationship between the dining spaces and what is consumed within them. This search lead to the image of a French wine press, a rough crucible refining valuable contents, an inspiration that translated into detailed timber expressions of gentle force, careful layering of colour and depth of texture. Material choices focused on the combined warmth of timber and burnished brass, elsewhere blackened steel indicates structural changes made in the spirit of a Victorian industrial history. Woven through the network of intimate and connected dining spaces, blue surfaces create a circling moat that separates old from new, privileging the history of this unique Melbourne building.