Rojo® Magazine (Barcelona) has recently created ROJO®tv. This new project consists of an online TV that features videos and motion graphics created by artists from many different countries. Click on the image above to watch Bruno 9li's animations at Rojo®tv.
SWITCH
（品川区大井）
品川区大井にある創業85年の老舗の鰻屋さんの建替計画。道路拡張により、敷地縮小が余儀なくされたクライアントのご主人は、創業100年目を新たな場所で迎えることを決意。コンクリートによるモダンな店舗併用住宅の計画が始まりました。
敷地は間口が広く、奥行きが浅い鰻の寝床。ファサードの面積が大きくなる利点を生かし、1階は開口部の少なくし、黒い杉板塀の路地を髣髴したデザインとすることで、老舗の風格を表現しています。2階の居住階はコンクリート打ち放しのデザインでコントラストを表現しました。4.5mのキャンティレバーをもつバルコニーはさながら船のよう。エリアで圧倒的な支持を得る老舗の客層やこれまでの雰囲気をベースにしつつも、新たな領域へのチャレンジを目指しています。
■掲載雑誌
「建築知識」
「東京カレンダー」
「satisphere4」
「Small House Tokyo」
「Memo 男の部屋」
■掲載書籍
「現代日本の建築vol.2」
「現代日本の空間vol.1」
■WEB
「散歩の達人」
「狭小住宅イズム」
MIND EXPANDER
Vienna
1967
The seat shell fixes two persons in a certain position. The lower seat allows one person to sit with their legs slightly open. The thigh of their right leg rests against a step forming the transition to a second seat area that is higher by the thickness of a thigh.
A helmet-like balloon that is connected with the seat can be tilted over the heads of the two people seated. Their heads thus are enclosed a narrow cylindrical space that is covered by a glass-clear plastic dome above which a transparent balloon hovers. A series of lines and stamped-out shapes made of reflective foil are placed on both the dome and the surface of the balloon in such a way that, depending on whether you concentrate on the level closer or further away from you, the elements constantly overlay each other to form new patterns.
Spinning Top Prints
A set of 1 and 2-colour prints created in collaboration with designer Thomas Forsyth.
"Tom has recently made a set of wooden spinning tops, which have a pen as the spindle, and create an amazing array of intricate and unpredictable marks. Together we made a range of large spinning top drawings, onto which I then screenprinted a design based on a birds-eye view of the tops.+
The prints are available to purchase so email Owen for more information. Each print is a unique because of the spinning top marks.
100cm X 70cm
Edition of 20
This a cheap film without cheap thrills; and when I say cheap film, I mean poor on every level except the business level (budget: ~$185 mil). Indiana Jones 4 is churned out by people who pride themselves on high production values, yet is ridden with poor cinematography, poor VFX, poor acting, and above all, poor writing.
For a project years in development, the story is bafflingly wafer-thin. Indiana Jones is taken by his bastard son to find a crystal skull and return it to its "final resting place" somewhere in the Amazon. They are racing against the Soviets, who plan to use the skull in evil ways. They want to bombard the USA with false and misleading images! Of course the media of the Free World could never allow that to happen. Not until they get their cut, anyway.
What a god-awful piece of work this is. The Steven Spielberg from the 70s and 80s has absented himself, save for a few scenes of nostalgic Americana where we sense a flicker of interest. That drive and passion which infused Raiders with its holy fury are gone. Godless communism lacks the special pizazz of Nazi idolatry which has been so important for Spielberg's career. Nor for that matter is there any trace of the consummate professional who made Kate Capshaw sing "Anything Goes" in Shanghainese, that guy who could do snappy choreography and evoke wonder. Here it's all phoned in. As for Lucas, we should all know what he wants by now: to flog to death every last horse in his stable of franchises.
Yet despite it being all about the money, with its immense budget and the benefit of the best VFX expertise in town, it just looks cheap. The shots in South America, making up over half the running time, were so obviously filmed on someone's backlot, so obviously palmed off to junior compositors or people working to misanthropic deadlines. With matte edges routinely smothered in all-purpose Glow, nothing gels visually and viewers, increasingly savvy about this stuff, are never transported. In a film that promises escapism, it's a fatal flaw. Doesn't anyone want to make things look more real than they did 25 years ago? Do they even know how? Those poor drones at ILM are forced to confect elements of escalating ludicrousness: vexed gophers, characters swinging on vines Tarzan-style, rubber snakes, and finally a giant UFO that will have some portion of the audience demanding their money back on the spot. I'd hate to tell these guys that the VFX being done in Russia these days (viz. Ночной дозор) is as good as anything they've done lately.
Pity too the actors, working with such thin material. Only Cate Blanchett manages to transcend her underwritten part and exude the pulpy charm that the other films in the series attained. Watching Cate's Spalko is almost fun, at least up to the moment where her character is vaporized by a Space Alien for "wanting to know". Disappointing as it has been up to this point, the whole exercise is now revealed as a sham, a house of cards where nothing stands up. There are no cinematic just desserts. What exactly is wrong with wanting to know things? Is that a problem?
What if, say, we end up learning that those higher forces we're told to trust in aren't on our side? Or aren't there at all? Who knows what will happen to you if you go to that dark place? For one thing, you might just stop handing money to the Hollywood schmaltz factory, and buying into worthless junk like this film.
