This is Nemo 33, the deepest swimming pool in the world. Located in Brussels, Belgium, the 113 ft. deep diving facility was designed by diving expert John Beernaerts for instruction, recreation, and film production.
I love the layout and colors of the space; the multi-level plateaus at the top are incredible. This really has a sort of 2001 vibe with a healthy dose of spent fuel pool thrown in. Would love to have a swim in there.
The effect that Dekotora has on the senses is profound. Imagine for a moment that you’re walking home late at night through a less trafficked, industrial area. Out of nowhere a garage door springs to life and the seismic presence of a 12 cylinder diesel barks to life. The next thing you know, a 10 ton monstrosity, cobbled together with jukeboxes, arcade machines and laser guided disco lights, is quickly bearing down on you. Such was my introduction to the relatively nonexistent presence of decorative commercial trucks operating in the greater New York City area.
A rare sight in most corners of the world, Dekotora is the Japanese discipline of decorating industrial and commercial vehicles with anything that reflects, glows, or flashes. It’s inspiration is drawn heavily from Gundam & arcade culture, something that much of the neon-marinated citzens of Tokyo can relate to.
Surprisingly, these are not “art cars” – they are fully functional and go about their daily tasks just as you see them here. Alot of these vehicles can be seen during business hours, backing up to loading docks, stopping for weigh stations or filling up at diesel pumps. Granted, some of the trucks above may be for shows only but from what I’ve read a lot of drivers do it to liven up their job and set their truck apart from the rest.
I really love the amount of detail that goes into these, I hope someday I’m able to get a closer look, I feel like I could spend a whole day looking at all the little bits and pieces. Yellow Magic Orchestra never reached the audience they deserved in the US so hey guys, here’s our chance to make up for past mistakes, you know that broken Bally machine in your aunt’s rec room? Or that Wurlitzer collecting dust in your garage? Throw a copy of Solid State Survivor in there and glue that shit to your truck man.
When I’m not injured or stuck in a moving vehicle on tour, my favorite thing in the world is cycling. Unfortunately the equipment and attire associated with the sport often run counter to my taste as a designer. So I was pretty excited to see this set by Bernard; definitely the first time I’ve ever been truly impressed by the design of a jersey / shorts (of course, BMC make some very nice looking frames, but they can be very hit and miss). But, as is always the case with anything designed well, it’s sold out and you can’t have it. Hopefully Bernard gets off his ass and prints some more because summer is almost over and my knee is feeling pretty good.
Le Révélateur and Sabrina Ratté are my favorite audio and visual collaborators since we first saw them on the blog via Beamer. The proper way to see this though is live, they played in Brooklyn and I still wish I brought my camera with me to videotape it and share it with you. Data Daze is forthcoming on cassette on NNA Tapes via the Horizon Fears EP.
Michael Cina and Matthew Dear team up to show some amazing ways to introduce art and an upcoming album to their audience. You just have to watch it yourself.
TEEN on Carpark Records is a 5 piece girl band that has the outlook of bringing back where Stereolab left off with more of a pop sense.
I have no information about this video, absolutely none, and that’s completely fine with me.
If you haven’t seen any Nardwuar interviews then i’d suggest having a few hours to watch a handful, its great seeing the musician reactions to the gifts he gives them.
With the London 2012 games (along with their controversial branding) in full swing I thought I’d revisit one of my favorite — Olympic or otherwise — branding campaigns ever: that which was created for the 1968 Mexico Olympics. Graphic Ambient has some beautiful images of the work in the real world, some of which I’d never seen before. I definitely have to say that I prefer Otl Aicher’s work for the 72 Munich games; but this has it’s own thing going on and after all it did come first! Related reading: Design Magazine #237 Via Graphic Ambient
Dug thru a few sites to make this Japanese Sci-Fi poster collection bigger, anyone else a sucker for airbrush? seems like it took great concentration and a steady hand that doesn’t offer an eraser really. There’s something really romantic about most of these. I can really respect an artist that can create a terrain off the top of his head.
If you think you’re having a rough start to the week, flip through the portfolio of photojournalist Lynsey Addario. The images Addario captures may not inspire you directly per se but, at least you’re not one of the victims in some of her photos. What she is doing is completely mind blowing to me. As a photographer, I live to capture moments as intense and raw as these but at what cost? It looks that Addario really puts her life on the line to capture images and stories that she can share with the rest of the world. Here’s a snippet of who Lynsey Addario is taken from her website’s bio:
Lynsey Addario is an American photojournalist based in New Delhi, India, where she photographs for The New York Times, National Geographic, and Time Magazine.
Lynsey began photographing professionally in 1996-with no professional photographic training or studies-and started photographing conflict and humanitarian issues. In 2000, she traveled to Afghanistan under Taliban rule to document life and oppression under the Taliban. She has since covered conflicts in Afghanistan, Iraq, Lebanon, Darfur, and Congo, and shoots features across the Middle East, South Asia, and Africa.
Addario’s work is NSFW. I selected images that would compliment this blog’s style. But be warned, there is a lot of gruesome photos. I honestly can’t put her work into words. It’s an experience that made my heart drop, eyes widen with jaw on the floor.
One of the reasons I enjoy creating on my iPhone, is it takes me out of my usual process. The image above I created with Fuzel It’s similar to Grid Lens but lets you make your own slices that you can load up with images. The lines are the slices I made and then I added a tringle to each slice. (I added the clouds with Blender). This is all fairly simple to do in Photoshop with masks but not nearly as simple to manipulate. Being able to tap points and change their size as I’m moving them around feels much more “organic”. I find the results are less forced and there seems to be a more natural progression of the design. I recently switched from a mouse to a tablet which I find much more natural, but you really cant beat direct contact with the screen. Posted by: Seth Hardie Instagram: @hallwood