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I'm not a super fan of galery openings as 1) I don't really appreciate the snobby crowd that generally hangs out there and 2) I get bored very quickly (probably a consequence of the 1st point!). Last evening however, I went to two openings and I actually enjoyed myself. I also discovered very talented people. Like Pierre Alex. the man who made these 6 stunning paintings (I know it's hard to really appreciate them in this photo, but that was not my point...) that I photographed at the wonderful Galery W, in the Abesses area near Montmartre. More about the second opening (including a little surprise!) soon...

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Courtesy of Arrhov FrickStockholm-based Arrhov Frick received 1st Prize in Europan 10 for their project “Parklife”, a park, hotel and spa in Östhammar, Sweden. More images and architect’s description after the break.The exceptional quality of the site and its beauty has been the natural starting point for the design of the project. From the town center, there is a short walk to the shoreline, where the town meets the Baltic Sea. The town is very small in scale and just when it transforms into villas, the site appears by the sea.Courtesy of Arrhov FrickThe site was a vital part of Östhammar in the 19th century, and consisted of a park, a warm and cold bathhouse, and a clubhouse. Östhammar´s SPA and clubhouse became prominent and attracted guests from neighboring big cities.An important part of the process has been to develop the additional program in a way that recreates the public function of the site. The boundary between private and public parts has been a key issue in our proposal. Three connected circles of gravel footpaths are laid out in the park. The arrangement is based on the original plan from the 1880s. The circles divide the site in smaller parts with the possibility of giving each inner circle a different program and atmosphere.Courtesy of Arrhov FrickThe entire program in one volume, stacked in four floors. Our ambition has been to make a main volume with as little footprint as possible, keeping the park and the existing walkway intact.The volume has been adjusted and partly separated in relation to the park. A collage of different ambitions – open/ closed, calm/ intense, minimal footprints/ more park area, preferable sun and view conditions – a vision of a future vital part of Östhammar.Courtesy of Arrhov FrickThe hotel is placed in the south corner of the site. The restaurant is angled to the north, entering the park in between the trees, making it both part of the hotel and the park.14m above the ground, there is a large public roof terrace which replaces the loss of area in the park, caused by the hotel’s footprint. It could function both as a view platform and for other different activities with a magnificent view of the town and the sea. The planning process will start in the autumn, 2010. Parklife / Arrhov Frick originally appeared on ArchDaily, the most visited architecture website on 09 Sep 2010.send to Twitter | Share on Facebook | What do you think about this?

Alejo Malia
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more illustations here

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Petra van Raaij is a Hamburg based fashion photographer, originally from the Netherlands.
Fashion Photography by Petra van Raaij

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More Inspiration Illustrations & Typography On Visual-Graphic

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Here are the top 20 photos from this months collection. If you want to view all the collections you have to visit the National geographic.

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Designer Mauro Canfori is probably best known for his work with colleague Emanuela Destro and the collaboration they call Teracrea. The objective was to create new paradigms for interior landscaping, or “to introduce greenery into internal architecture and offer new solutions to traditional pots for outdoor plants.” In their efforts to work with containers of materials besides terracotta, they enlisted the services of none other than The Bouroullecs, the Campanas, and Konstantin Grcic, among others. Canfori’s latest endeavor is a different kind of indoor adornment, but no less auspicious, and one nearer and dearer to my heart, in fact: TEEbooks is a simple shelving system that lets you line your walls with books in all sorts of unconventional arrangements. Any shelves facilitating library configurations like “Symétrique,” “Grande Mixte,” and “Linéaire” are sure to be on any bibliophiles watch list.
Buren. Designed by Mauro Canfori.
The genius of TEEbooks is that the shelves allow horizontal and vertical expansion via an interlocking modular system of asymmetrical units. Horizontal shelves connect with “L” or “T” shapes (they’re actually closer to an “F” without the top line), which enables the deceptively precarious look of a tower of books—ascending the wall like the sight line on a skyscraper. The structure of the shelves remains hidden behind the displayed books, creating the logorrheic illusion of books and nothing but books upon your walls: criss-crossing like intersecting streets with “Chicane,” arranged in a perfectly symmetrical suspension of disbelief with “Judd,” or inscribed on the wall as an arcane spiritual symbology with “Double Croix.”

Linéare. Designed by Mauro Canfori.

Chicane. Designed by Mauro Canfori.

Domino. Designed by Mauro Canfori.

Double Croix. Designed by Mauro Canfori.

Grande Mixte. Designed by Mauro Canfori.
Another option with TEEbooks is to forge a perfectly conventional pattern—minimalist and spare as in “Buren,” or shabbily chic as shown by “Linéaire.” Canfori designed the concept with versatility in mind. So whether you prefer to eschew art in favor of a mural-sized picture in books, or use the birch plywood and metal shelving to complement your reading tastes as well as your assorted knick-knackery, Teebooks has the look you’re after.

You’ll remember that last week we examined how a burgeoning Australian technology to process a sustainable crop resulted in a House Made of Hemp stateside in Asheville, NC. Today we’re going back down under to profile Yamba, Australia’s Zaishu. The company was launched by designers Matthew Butler and Helen Punton back in 2004 at Melbourne’s Center for Contemporary Art. They focus on producing functional, ecologically-sound, sustainable, and aesthetically engaging furniture. And just like the literary Oulipians before them, the ostensible constraint is actually an inspiration: “We believe the things with which we surround ourselves can be made sustainably without compromising their design or quality.” A case in point is Zaishu’s series of flat-pack stools/chairs/tables. As the word “Zaishu” originated as a Japanese term for a seat without legs, these versatile, five-piece, easy-to-assemble, easy-to-transport works of art derive from the iconography of the traditional Kimono. The Zaishu Stool. Designed by Matthew Butler and Helen Punton.
Like a deconstructed Rorschach image, Zaishu appears in Kimono form only in its unassembled incarnation. Laid flat, the five components of the slot-together piece outline the Kimono’s basic shape, but when fully assembled, the Zaishu Stool is solid, versatile, easy-to-move, rife for creative use, and beautifully adorned. The decorative aspect of Zaishu is owed to design commissions with “traditional Indian sign-writers, graffiti artists, school kids, tribal artists and many more.” The look of the four pieces is somewhere along the continuum between Chris Rucker and Basquiat; they have a street-savvy that’s nicely counterbalanced by an elegant touch and an imagistic simplicity.

As to the environmental aspect, each stool is made of Native Australian Hoop Pine from sustainable forests. Zaishu sources all materials locally and assembles every stool at their own studio following comprehensive guidelines for ethical manufacture. Paints and varnishes are water based, and the five pieces are packaged for shipping in a re-usable and sustainably harvested cotton bag. And their screw-less, nail-less, glue-less, and tool-less assembly saves further resources—all of which translates to an effective and beautiful blueprint for how to go green.