Issue 4

AN 

NE 

A very ... 

...Colourful Issue 

“Holi” 

Explore the “Soul of India” 

a colourful Photography series by 

Anjan Ghosh 

Forae va 

“ reimagined tradition for 

the next Space Age with a 

hybrid art-meets-tech dress 

made with crystals from 

Swarovski.” 

2018 

ISSUE 4

AN 

NE 

“ The whole world, as we experience it visually, comes to us through 

the mystic realm of colour”. 

- Hans Hofmann 

ANNE’S MAGAZINE

Image courtesy of Nastia Ibragimova 

A N N E 

It all started with Isaac Newton’s discovery of light and colour with his 

endless experiments. Through that, we all know that with, what seems just 

a white ray of light transformed into a beautiful spectrum of a rainbow. 

Personally, I’m a minimalist. I’m more 50 shades of greys, whites and 

blacks kind of person. However, with those, I always loved to add a splash 

of colour, crimson red, mustard yellow or a pop of royal blue to create 

this strong contrast of wow factor, well, depends on my mood and how I 

want my viewers to feel. Colour opened a door to endless possibilities 

in the design world. Through art especially It is a perfect way to express 

one’s emotions. The famous Vincent Van Gogh who’s not only known for 

his expressive strokes and chopping off his ear, but he also used colour 

as a way of expressing. Van Gogh created a painting “Sunflowers”, where 

he uses warm yellows to create an energetic image that radiates feelings 

of hope and joy. Colour psychologically affects us whether or not we’re 

aware. For instance, in many hospitals you may notice blue tones are 

commonly used, reflecting calmness and therefore keeps patients calm, 

while in restaurants reds, evokes our taste buds, stimulates our appetites 

and sometimes sets a romantic mood. 

I decided to explore colour in a more personal and deeper level, see 

how artists, designers and photographers have captured colour and how 

it deeply impacted their work, as well as their main source of inspiration. 

This may be a little black book, however, this issue is going colourful! 

D esign . .. 

C reate . .. 

I nspire 

Anneelmeri

2018 ISSUE 4 ANNE’S MAGAZINE 

SNEAK 

PEEK 

W hat Inspires you? 

Foraeva 

Lana Dumitru & Vlad Tenu 

Founder and Editor in Chief 

Anne EL Meri 

AN 

NE 

For advertisement or any 

Inquiries 

Style 

Sporty Spanta - Lana Dumitru for Moja 

Happy Nation - Lana Dumitru 

Design Transformation 

Liz West 

Colour Transfer - Our Colour Reflection - Sevenfold 

1000 Colours Recipe - Emmanuelle Moureaux 

Janet Echelman 

Front Cover 

Photographer Anjan Ghosh 

Back Cover art 

Foraeva by Lana dumitru & Vlad Tenu 

Photo credits : Christian Tudose 

Contact: 

anne@annesmagazine.com 

Instagram: 

annesmagazine 

Design Trend 

Capturing Colour 

Salt Series - Tom Hegen 

Soul of India - Anjan Ghosh 

Copyright©ANNE’s Magazine All rights reserved 

Website : 

Annesmagazine.com 

Magazines available as well on 

Appstore “Anne’s Magazine” 

Design Inspiration 

Colour in Design - Nastia Ibragimova 

Design Inspight 

Jamie Hayon 

6 7


Liz West 

Artist 

UK 

Anjan Ghosh 

Photographer 

Kolkata, India 

What Inspires You? 

I walk around with open eyes and the internet 

is a great source of inspiration. I look at all the 

architecture, design, and art around me and the 

amazing photography blogs – which endlessly 

frustrate me because I am impressed with what 

I see. The work of artists who use the mediums 

of colour and light in combination have 

interested, resonated and in uenced me the 

most. These works have had a direct effect on 

the scale, ambition and form of my work. Robert 

Irwin, Dan Flavin, James Turrell, Carlos 

Cruz-Diez, David Batchelor, Ann Veronica 

Janssens, Anthony McCall, and Olafur Eliasson; 

these are just a few of the artists who 

particularly inspire me. Of all the artists, for 

me, J. M. W. Turner remains the father of light 

art. 

Nastia Ibragimova 

Interior Designer 

Pskov, Russia 

I think that good design works in complex, 

not only colour matters but textures as well (in 

interior design for example), but the meaning 

of colour is crucial. I really like to experiment 

with colours and light, even though I’m working 

only with few colour pallets I’m trying to 

develop. 

I am passionate about photography, 

especially in rural and semi-urban life. India is 

a country where the main essence comes out 

from the rural areas that makes it unique among 

other countries. My intention is to search this 

uniqueness and produce them on the global 

platform. 

Urbanisation is swallowing down our daily life 

style in a rapid pace. Yet, the Indian villages 

are competing with this urbanisation in a 

positive way for a long time. 

Tom Hegen 

Photographer and Designer 

Munich, Germany 

I photograph landscapes, that have been 

heavily transformed by human intervention and 

show places, where nature is channeled, 

regulated and controlled. From a distance – 

from the top – the often irreversible trace that 

we have left on our planet is even more evident. 

I am looking for projects that communicate a 

certain message in a convincing way. Not just 

in the design sector but also arts, documentary 

films, and exhibitions. 

I would like to inspire people to look closer 

at the impact we have on our environment and 

ask if and how we could assume responsibility. 

8 9


design 

. .. 


Calligraphy art by Nakajima Hiroyuki 

10 11


Foraeva 

by Lana Dumitru & Vlad Tenu Made with crystals from Swarovski 

About 

Foraeva is about two designers putting the past into the future in the shape 

of a crystal dress. 

Approached by Swarovski, fashion designer Lana Dumitru and architect Vlad 

Tenu have teamed up and reimagined tradition for the next Space Age. In a 

mission to redefine digital craft, they took the folk pattern from a 

traditional Romanian rug and digitally reconstructed it from over 25.000 

Swarovski crystals into a new kind of artefact. The sheer complexity of this 

dress has reached an engineering level, only possible through computer 3D 

simulations, algorithmic design methods and digital prototyping. Where no 

other human artefact has gone before. 

Visionary design duo Lana Dumitru and Vlad Tenu have reinterpreted 

tradition for the next Space Age with a hybrid art-meets-tech dress made with 

crystals from Swarovski. The future is crystal clear! 

“ We’ve seen the future - it’s the Foraeva dress” 

Imagine an outfit that looks like space age haute couture, created using the 

most sophisticated computer technology imaginable, yet with a nostalgic nod 

to the old artisanal crafts of a previous century. This is Foraeva, the perfect 

dress for a red carpet event on Mars. We’re talking out-of-this-world, 

high-tech couture, digitally constructed for an impossibly glamorous 

intergalactic happening somewhere far, far, away. Fearless high fashion for 

the brave and the bold.” 


12 13


“Foraeva is the dress carrying a positive and colourful message sent to us 

from the next century: identity and tradition will not be lost on the path of 

inter-globalisation, they will evolve in unexpected ways, shaped by 

technology and emotions. You might think of it as the dress that Grandma 

Earth will give to us as a goodbye gift before we leave her for other 

planets; or a red carpet outfit on Mars.” 


14 15


The Process 

Based on a multi-disciplinary approach, the sculptural design is achieved 

through completely new ways of using Swarovski elements. Informed by 

complex algorithms, the crystals act as structural elements, 

interconnected to form the fluid geometry and continuous surfaces or the 

dress. Simultaneously, they also behave like coloured 3D pixels, 

illustrating three-dimensional discrete patterns and organic reliefs. These 

are controlled by a bespoke algorithm designed to interpret traditional 

patterns and re-create them from Swarovski crystals, in a similar way the 

traditional sewn motifs were coded and transmitted through generations. 

It is a process based design, creating not just one model but a family of 

them, fully simulated in 3D for a productive dialogue with manufacturing 

robots rather than the human hand. No wonder that it took a team of 15 

people almost six months to assemble the dress. 


16 17



18 19



20 21



22 23


Photograph Tasya Kudryk 

S tyle 

Sporty Săpanța 

Lana for Moja 

Lana Dumitru’s collection, Sporty Sapanta, comes with statement 

items along with a streetwear approach of the Maramures beauty 

(the traditional part of Romania where the Merry Cemetery can 

be found), which was adapted for the highly active women. The 

Sports Couture collection contains shorts, dresses, long jackets 

and backpacks, all of them coming in different colours and 

patterns. In addition to this, their distinctive elements are 

represented by colourful bands and elastics that are specific to 

the 90s. 

Sports Couture means to hurry with style wherever your job, 

love or your lust for fun takes you. Sporty Sapanta is not sportswear, 

but clothing items for those who appreciate the “rush chic” 

style of the greatest cities. The patterns have been inspired by 

the paintings of the Merry Cemetery, Sapanta. It is worthy to 

mention that the patterns were not copied, but recreated after a 

long research and print development. 

Photo credits : Vlad Andrei 

24 25



26 27



28 29


H appy N ation 

by Lana Dumitru 

- “in a love-hate relationship with my memories” - 

Happy Nation, the new collection of Romanian artist and fashion 

designer Lana Dumitru, deals with the national past and her 

early memories using nostalgia and humour: from the iconic coat 

of arms of dictator Ceauș escu’s Romanian Socialist Republic mixed 

with the laughing with tears emoji, treating that political period 

as the absurd joke that was, to the domestic kitsch of the 80s 

flats in which the old TV sets were placed over a macramé, to the 

ironic glamorization of the school uniforms worn during the era. 

She turns the oldest art forms of expressing - the primal emotions 

(the ritualistic masks from the pre-Romanian traditions) into the 

contemporary digital masks- emojis. 

Also, the traditional carpet from a Romanian peasant’s house 

becomes the comfy climax of a chic overall. Or the dresses that 

express rural good fortune and prosperity using the image of a 

turkey, made by using the laser-cut. 

Happy Nation is a sports couture collection, made in part using 

innovative technologies (digital printing and laser-cut print) mixed 

with hand-made techniques (remixed Romanian traditional masks) 

and haute couture items. 

Like any Lana Dumitru collection, Happy Nation is not made 

especially for a peculiar season, it’s not a must-have for the 

summer of 2016, it’s just as timeless as the memories that 

inspired it. 

Photo credits : Adi Bulboacă 

30 31



32 33



34 35



36 37


create 

. .. 

38 39


From what once creates the music transformed to the sound of music. 

Last Issue’s ANNE Magazine have transformed us with recycling 

aircrafts to furniture. Taken an iconic object from the past – the 12” vinyl 

LP – and recycles it to enhance the very latest audio digital technology. 

This have been achieved by Paul Cocksedge, made by heated and molding 

the plastic disks into a funnel shape. Known as Change the record, 

The loudspeaker created for smart-phones, Because of it’s form, it requires 

no wires or connection, just as we get a cup or place a smart phone 

between our curved hands, the sound is amplified as it does like electronic 

sound-system. 

Change the Record 

40 41


DESIGN T RANSFORMATION 

R evival 

Liz W est 

What inspires you in the design world? 

I walk around with open eyes and the internet is a great source of 

inspiration. I look at all the architecture, design, and art around me 

and the amazing photography blogs – which endlessly frustrate me 

because I am impressed with what I see. The work of artists who use 

the mediums of colour and light in combination have interested, 

resonated and influenced me the most. These works have had a direct 

effect on the scale, ambition and form of my work. Robert Irwin, Dan 

Flavin, James Turrell, Carlos Cruz-Diez, David Batchelor, Ann Veronica 

Janssens, Anthony McCall, and Olafur Eliasson; these are just a few 

of the artists who particularly inspire me. Of all the artists, for me, 

J. M. W. Turner remains the father of light art. 

Colour Transfer 

Colour Transfer is a new permanent commission spanning the 

underside of Paddington Central’s Westway Bridge. 

The artwork comprises multiple angled coloured mirrors, vertically 

spanning the height of the brickwork to create an optically vibrant 

and kaleidoscopic installation. The prismatic shapes mirror the 

tunnel’s architecture. The colours appear in the work change 

depending on where you are within the tunnel. The work appears 

different from one direction to the other. The coloured mirrors are 

positioned in a spectral arrangement running from dark red to pale 

pink when entering the underpass from the left and the opposite when 

entering from the right. As visitors move, they will encounter the 

fluctuating effect of light and reflections created by the coloured 

mirrors. 

Colour Transfer was commissioned by British Land. 

Steel, Aluminium and PVC 

1780cm (L) 230cm x (H) x 51cm (W) 

2018 Photographs © Jason Bailey 

Images and Photographs courtesy of Masaomi Fujita 

42 43


I grew up in a family with both parents working as artists, so it was 

inevitable that I would end up doing either the opposite of that or 

something very similar to that. I was constantly being nurtured with 

an artist’s mentality, which was very important for me growing up. All 

the aesthetic and conceptual decisions were made with curators and 

artists around me, and I pursued what I felt I was good at, what I was 

most interested in and most excited by. When I was a tiny little girl, 

my mum would sit me at a little table in her studio and I would play 

with quite odd materials, not paint as such, but ready-made things. 

And if I was bored with that, I would go down to the garden where 

my dad’s studio and workshop was; he would give me a lump of clay, 

and just say: “try making something with that.” So in fact, every form 

of playing in my life was art making. And unlike many other artists I 

know, I never felt pressure from my parents to a “proper job” – they 

would rather encourage me to make art. I went to what I thought was 

the best art school in the world, the Glasgow School of Art, and I 

studied sculpture and environmental art, which for me seemed like a 

perfect course – it made me think of making site-specific works 

instead of paintings or photographs. I think that’s probably a good 

indication of why I make site-responsive, immersive installations. 

Photoraph courtesy of Liz West 

44 45


Why did you choose to focus on “Colour”? 

You cannot see colour without light. The two mediums are intrinsically 

connected which is really important for me. I don’t just make work with 

artificial light, I also think about natural light as it is as equally 

important to us as we go about our day to day lives. One thing I am 

really interested in exploring is how we see and I think we are all guilty 

of going about our daily lives looking at screens. We live in this digital 

age, we have access to information and knowledge instantly and so much 

of the time no one actually stops to look around and appreciate what’s 

around them. 

I want to highlight natural phenomena such as light and colour through 

my work so people become more aware. The irony, of course, is that 

images of my work then travel around the digital ether. I guess that’s 

got a nice symmetry to it! 

Photographs © Jason Bailey 

46 47


Photographs © Jason Bailey 

48 49


Sevenfold 

When The Met opened its doors in December 2016, following 

a £ 4.6 million refurbishment, at the centre of the historical 

building is a newly commissioned installation by Liz West. 

The site-responsive piece entitled Sevenfold plays with the 

natural light of the space and injects vibrant colours and a 

sense of illusion into the magnificent entrance and staircase of 

the Victorian neo-classical building. Sevenfold takes its 

reference from Newton’s rainbow sequence of red, orange, 

yellow, green, blue, indigo and violet found when shining pure 

white light through a glass prism. Seven individual and vast 

prisms (six coloured prisms in the main installation plus one 

white prism above the reception desk) have been created that 

use mirrors to further radiate colour and reflect elements of 

the beautifully restored architecture. 

What advice would you like to give about colour? 

I always trust my instincts when it comes to the use of colour. 

Colour is a very personal thing and therefore people must choose 

what is right for them within their own spaces and lives. 

Our personal perception of colour reflects our experiences and 

backgrounds. I refer to Josef Albers a lot when I think about colour 

and would urge others to do so. He famously said, “If one says ‘red’ 

- the name of colour - and there are fifty people listening, it can 

be expected that there will be fifty reds in their minds. And one can 

be sure that all these reds will be very different. 

Site-specific Installation (acrylic, steel, plywood, polyester film) 

970cm (L) 2400cm x (H) x 970cm (W) 

2016 

Photographs © Jim Stephenson 

50 51


What Challenges do you face when creating your installations? 

Often the challenge for me is thinking of the right work for the 

space I am offered, particularly if the work is intended to be site 

specific. I have made none site-specific work like “Our Spectral 

Vision” at the Natural History Museum, this work has toured around 

the country and it could go in any space and is much easier to locate 

and find sites for. The site-specific, site responsive & site 

conditional work side of my practice is more of a challenge, I can 

often spend months or even years getting the idea right. This is a 

lengthy process; however, sometimes the idea can come instantly 

and I think “that space needs this” or sometimes I have to really take 

time with it. 

Images and Photographs courtesy of Masaomi Fujita 


52 53



54 55


Our Colour Reflection 

Our Colour Reflection was presented at 20-21 Visual Arts 

Centre in Scunthorpe from 14 May until 25 June and St. Mark’s 

Mayfair from 4 - 15 July 2016. 

Our Colour Reflection creates a conversation between the 

viewer and the setting using more than 765 mirrors made of 

coloured acrylic. There are 15 colours in all and the mirrors with 

diameters of 30, 40, 50 and 60cm are set at different heights so 

that they both reflect the roof space of the old nave, revealing 

parts of the architecture that would otherwise be invisible, and 

project colour up into the historic interior. It is playful, 

elegant and engaging but also thoughtful. 

Taking time to research and consider the history of the 

building and the weight of connotations it holds as a former 

place of worship, West studied the stained glass and 

considered the importance of light within the space. ‘This has 

allowed me to make sure the work is grounded within its site 

but also holds its own voice within the grandeur and information 

that the space brings to the conversation,’ she says. 

There is an element of performance to this work; it puts the 

audience to the fore, demanding a response, in West’s words 

‘physically, emotionally, psychologically or even spiritually.’ 

Viewers will each have their own perspectives and their own 

experiences tempered by movement through the space and 

through time. By going unplugged here, West emphasises that 

while artificial light can be manipulated it can only, at best, 

replicate the dynamism, shifting mood and changes in quality 

embodied in natural light” - Francis Pearce 

Installation (mirror, acrylic tubing) 

1100cm (L) 20cm x (H) x 1100cm (W) 

2016 

Photographs © Hannah Devereux 

56 57


What do you hope to achieve between the viewers (or audience) 

interacting with your installations? 

Upon entering an exhibition of my work and being immediately 

surrounded by intense light, I expect the viewers would feel an 

overwhelming sense of delight and longing to explore the spaces I 

create. I hope the visual sensation of space and light together is 

communicated to my audience, I would like them to experience a 

playful, magical and transformative environment. The strength of 

light created by chemical colour has an effect on me and others, 

which can be physical, emotional and psychological (and for some – 

spiritual). The effect is known to increase personal well-being and 

serotonin levels – often associated with exposure to sunlight. 

Although often overwhelming in its saturation, my work allows me 

to tap into my own relationship to light and sensory reactions. Each 

person visiting my installations will bring with them their own 

associations and responses and take away a heightened sense of 

feeling, whatever that may be. I think it will be rare for most 

people to have been completely immersed and saturated in light and 

will find it an extraordinary experiential encounter. 


58 59



60 61


Photograph : Daisuke Shima 

© Tony Menias 

62 63


1000 COLOURS RECIPE 

Emmanuelle Moureaux 

Imabari City in Ehime Prefecture is famous for its highquality 

towel production. The land is blessed with good 

quality water, which has lead to an accumulation of excellent 

dyeing techniques. For the “IMABARI Color Show” introducing 

the dyeing technology in Imabari City, Emmanuelle revealed an 

installation “1000 COLORS RECIPE”, using her own 1000 (one 

thousand) colours palette specially created for this installation, 

the most number of colours she has ever used in her works. 

The installation visually conveys Imabari’s dyeing technology 

and a new world of colours that no one has ever seen. 

Emmanuelle Moureaux 

Born in 1971, France. Emmanuelle Moureaux is a French architect 

living in Tokyo since 1996, where she established “Emmanuelle 

Moureaux architecture + design” in 2003. Inspired by the layers 

and colours of Tokyo that built a complex depth and density on 

the street, and the Japanese traditional spatial elements like 

sliding screens, she has created the concept of shikiri, which 

literally means “dividing (creating) space with colours”. She uses 

colours as three-dimensional elements, like layers, in order to 

create spaces, not as a finishing touch applied on surfaces. 

Handling colours as a medium to compose space, her wish is to 

give emotion through colours with her creations, which range 

from art, design to architecture. 

Credits 

Design : emmanuelle moureaux 


The concept of this installation is “1000 COLORS RECIPE”. It is 

a visualization of the delicate and accurate “recipes” required 

for dyeing. The elements that make up the recipe are the 

percentage of three principles of colour “C (blue) / M (red) / Y 

(yellow)”, 

temperature “° C”, time “ minute/second”, and values composed 

of numerical figures “0” to “9”. By precisely managing all of 

these elements, colours delicately different to each other are 

created. These 17 types of symbols that make up the recipe 

were dyed in 1000 different colours, and they were cut out in 

the shape of 

symbols, connected with thread, and then suspended at the 

centre of the atrium of the Spiral Garden (SPIRAL, Tokyo). 1000 

colours are condensed to form a circle at the centre, one colour 

for one thread, and the un-dyed white symbols wrap the outer 

circumference emphasize the existence of 1000 colours. The total 

number of symbols used is about 17000. Symbols are 

arranged in three-dimensional grid, while they may be seen 

floating aligned or chaotic depending on the viewing position. 

When sitting under the symbol, you will see various recipes as 

you drown in colours. 

64 65


“1000 COLORS RECIPE” was created by the fusion of Emmanuelle’s 

colours with high-quality skills of Imabari’s dyeing technicians. The 

technique 

“Here I was 

of “dyeing” 

given the 

and 

privilege 

the creation 

and pleasure 

of “1000 

of 

colours”, 

running 

multiplied 

into these 

two geishas at my Ryokan in Kyoto. Their history is so intriguing and 

by the delicacy of both have become a grand installation. 

full of mystery, give it a google, you wont be disappointed.” 


“One of the many things Japan is famous for is its sushi and fresh 

fish. Here, and Itamae (sushi chef) smiles as his sushi goes around him 

on a conveyer belt for his customers’ choosing.” 



66 67



68 69



70 71



72 73


JANET 

ECHELMAN 

Janet Echelman is an artist who defies categorization. She creates 

experiential sculpture at the scale of buildings that transform with wind and 

light. The art shifts from being an object you look at, to a living 

environment you can get lost in. Using unlikely materials from fishnet to 

atomized water particles, Echelman combines ancient craft with cutting-edge 

technology to create artworks that have become focal points for urban life 

on five continents. 

Recipient of the Guggenheim Fellowship, the Harvard University Loeb 

Fellowship, a Fulbright Lectureship, and the Aspen Institute Crown 

Fellowship, her TED talk “Taking Imagination Seriously” has been 

translated into 35 languages with more than one million views. Ranked 

number one on Oprah Magazine’s “List of 50 Things that Make You Say 

Wow!,” she was named an Architectural Digest Innovator for “changing the 

very essence of urban spaces.” She recently received the Smithsonian 

American Ingenuity Award in Visual Arts, honouring “the greatest innovators 

in America today.” 

American artist Janet Echelman reshapes urban airspace with 

monumental, fluidly moving sculpture that responds to environmental 

forces including wind, water, and sunlight. 

Photographs courtesy of Studio Echelman 

74 75


Echelman’s soft, voluminous net sculpture surged 180 feet through the 

air between buildings above Oxford Circus, the busiest pedestrian area in 

all of London. 

The monumental floating form is composed of layers of fibre, braided and 

knotted together in vibrant hues that pulse with changing wind and 

weather to create a choreography of undulating colour. At night, the 

sculpture comes to life with projected coloured light. The precise colours 

and patterns are created interactively with members of the public, who are 

invited to use their smartphones to select colours and tap out patterns with 

the touch of a finger. These patterns are projected onto the monumental 

surface of the sculpture, and proceed to interact with one another, creating 

ripple effects for all to see. 

The work’s title is 1.8, referring to the length of time in microseconds 

that the earth’s day was shortened as a result of a single physical event, 

the 2011 earthquake and tsunami that emanated from Japan.The sculpture’s 

form was inspired by data sets of the tsunami’s wave heights rippling across 

the entire Pacific Ocean. The artwork delves into content related to our 

complex interdependencies with larger cycles of time and our physical 

world. The sculpture’s net structure is a physical manifestation of 

interconnectedness - when any one element moves, every other element is 

affected. 

Lightweight and flexible, the sculpture is travelling to other cites around 

the world after its premiere at Lumiere London 2016, a light festival 

produced by Artichoke. It is constructed from technical fibres that are 15 

times stronger than steel by weight, and custom colour blends that 

Echelman combines with programmed coloured light to create the final artwork. 

LONDON 

OXFORD CIRCUS 


The artwork invites you to pause amid the bustle and commotion, offering 

a chance to gaze skyward and contemplate a physical manifestation of the 

interconnectedness surrounding us. 

76 77



78 79


RENWICK 

The permanent and temporary projects draw inspiration from ancient craft and 

modern technology. Using materials from woven fibre to atomized mist, the studio 

creates a living, breathing pieces that respond to the forces of nature — wind, 

water and light. 

Studio Echelman explores the cutting edge of sculpture, 

public art, and urban transformation. Assembled and led by 

internationally recognized sculptor Janet Echelman, the design 

team focuses on the development and creation of large-scale 

artworks. 

By combining meaning with physical form, it strives to create a visceral 

experience in diverse city environments, accessible to all. These sculpture 

environments embody local identity and invite residents to form a personal and 

dynamic relationship with the art and place. Each project becomes intimately tied 

to its environment through the use of local materials and working methods, thus 

strengthening neighbourhood connections and promoting a distinctive civic 

character. 

The design team spans the globe. Studio Echelman is privileged to collaborate 

with brilliant aeronautical and mechanical engineers, architects, lighting 

designers, landscape architects, and fabricators. 


80 81


A 4,000 square-foot textile floor echoes the organic 

topography of the aerial form in monochromatic hues, providing a 

playful contrast to the vibrant hues of the sculpture’s 51 miles of 

twine above. The flooring is composed of regenerated nylon fibres 

repurposed from discarded fishing nets. 

The Smithsonian American Art Museum commissioned Janet 

Echelman to create an artwork to transform the Renwick Gallery’s 

iconic Grand Salon. The WONDER Exhibition, the Renwick Gallery’s 

What first after is the an inspiration intensive 2-year behind renovation, your project “transforms “Moon” the entire 

museum into an immersive artwork.” Echelman’s sculpture has since 

been acquired by the museum for their permanent collection and 

remains The moon on display. suggests a lot to me. It waxes and wanes periodically and 

looks like that light and shadow are attacking each other on the Moon 

every Echelman night. The created relationship a soft, between voluminous light net and sculpture shadow seems that to surges 

represent through the “dynamism air of the and hundred-foot Stasis,” “ positive length Grand negative,” Salon, intersecting 

“ substance 

and with vanity,” its historic that also cove reminds ceiling. me The of “ complex life and form death.” is All composed physical of many 

objects layers of in the twines, world knotted are changing together continuously, vibrant in hues the correlation that interplay between with 

two coloured contrary light poles. and ““shadow Shogyo – drawings” Mujo “ is one the of the walls. teachings A carefully of Buddha. 

It choreographed means nothing lighting can remain program the same. subtly Everything changes on the earth experience changes from of 

moment sculpture to with moment. every All perspective. things are in Visitors flux through find themselves 

endless circle of 

birth, transported death, and into rebirth. a dreamlike It seems state, to me gazing the character skyward “ at moon. an ethereal “ 

symbolizes choreography this of teaching. undulating colour. 

The work’s title is 1.8 Renwick, which refers to the length of 

time measured in microseconds that the earth’s day was shortened 

as a result of a physical event, the 2011 Tohoku earthquake and 

tsunami which hit Japan with devastating effects. The forms in the 

sculpture and carpet were inspired by data sets of the Tsunami 

wave heights across the Pacific Ocean. The artwork reminds us of 

our complex interdependencies with larger cycles of time and 

matter. Its physical presence is a manifestation of 

interconnectedness - when any one element in the sculpture moves, 

every other element is affected. “As individuals we may feel 

“ A new moon, a crescent moon, a half moon, a full moon... 

fragile, like a length of thread,” said Echelman, “but when knotted 

then a new moon.The moon waxes and wanes periodically. 

together we have the capacity for incredible strength and 

It symbolizes the idea of metempsychosis.Everything on earth 

resiliency.” 

changes from moment to moment. 

All things are in flux through the endless circle of birth, 

death and rebirth. 

” 


Images courtesy of Nakajima Hiroyuki 

82 83


1.78 Dubai is the newest work in Janet Echelman’s Earth Time Series, 

which her team has been working on the for the last eight years. It is 

the most recent addition to Art Emaar’s new public art initiative and 

will be on exhibition through late July 2018. That artwork makes its 

U.A.E. debut against the iconic backdrop of the Burj Khalifa and Dubai 

Fountain. 

The number “1.78” within the title refers to the number of 

microseconds that the day was shortened when a single earthquake 

shifted the planet’s mass, thus speeding up the earth’s rotation of one 

day. This work examines the complex interaction of the many systems 

of our physical world with one another. 

Echelman’s goal as an artist with this work is to remind us of the 

many cycles of time at various scales, ranging from a single day to 

centuries. It reminds us of our complex interconnectedness with larger 

cycles of time and the systems of our physical world. The sculpture’s 

materials embody this. When any one element in the sculpture’s 

network moves, every other element is affected. 

“1.78” 

DUBAI 


84 85


Our surroundings affect how we feel and how we experience our lives 

- we are responsible for the way our cities look and function. These 

netted works work brings softness to the scale of the city. They are 

soft counterpoints to the hard edges of buildings, offering proof that 

we can interrogate the status quo - that the assumption that cities must 

be formed from hard materials and straight edges can be changed. 

“I feel a need to find moments of contemplation in the midst of daily 

city life,” Echelman said. “If my art can create an opportunity to 

contemplate the larger cycles of time and remind us to listen to our 

inner selves, I believe this could be transformative.” 

The monumental floating form of 1.78 is composed of layers of fibre, 

braided and knotted together in vibrant hues that pulse with 

changing wind and weather to create a choreography of undulating 

color. At night, the sculpture comes to life with projected coloured 

light. Lightweight and flexible, the sculpture is designed to travel to 

cities around the world as a physical manifestation of the 

interconnectedness. 


86 87


inspire 

. .. 

Photograph Tom Hegen 

88 89


Design Trend 

Capturing Colour 

Salt Series 

Tom Hegen 

My Name is Tom Hegen, I am a Photographer and Graphic 

Designer from Munich, Germany. I focus on aerial photography 

and projects that show the impact of human presence on earth. 

As a photographer, I am interested in the relationship between 

man and nature. I first came into contact with photography when 

I spent a year in New Zealand, doing a community service. 

I studied Communication Design in Germany and the United 

Kingdom and have a masters degree in arts. 

You mentioned being a photojournalist. Tell us more about 

that journey on what kind of things you like to focus on? 

I photograph landscapes, that have been heavily transformed 

by human intervention and show places, where nature is 

channelled, regulated and controlled. From a distance – from the 

top – the often irreversible trace that we have left on our planet 

is even more evident. 

I would like to inspire people to look closer at the impact we 

have on our environment and ask if and how we could assume 

responsibility. I studied visual communication in Germany and 

the United Kingdom and have a masters degree in communication 

design. My aerial photos have a very graphic touch and you can 

probably see my graphic design background. I live in south 

Germany, really close to the European Alps. That fact probably 

also sensitized me to focus on nature-themed subjects. 


90 91


I am interested in the idea of the “Anthropocene”. It is a term 

used by scientists summarizing that in recent centuries humans have 

become one of the most important factors influencing the 

biological, geological and atmospheric processes on Earth. Some 

scientists propose that we no longer living in the present era called 

the “Holocene” as we are on the edge to a new geological epoch, the 

“Anthropocene”. The most important changes in the Anthropocene 

include climate change, the Antarctic ozone hole, the use of 50 

per cent of the earth’s global surface by man, the rapid rise in sea 

levels, and landscape changes caused by river shifts or the 

degradation of raw materials. In my photography, I explore the 

origin and scale of that Idea to understand the dimensions of man’s 

intervention in natural spaces and to bring attention to how we can 

take responsibility for that. 

The extraction of sea salt is one of the oldest forms of 

human landscaping and it is the oldest method of salt production. In 

Europe, it dates back to the Antiquity some 6000 years ago. 

Nowadays salt is one of those raw materials, which we have 

incorporated extensively into our everyday lives and rarely ask 

where it actually comes from and how it’s being produced. In “The 

Salt Series” I explore artificial landscapes where nature is 

channelled, regulated and controlled. I like the fact of looking 

behind the scenes. 


92 93


To get my photos, I use different methods and techniques like 

hot air balloons, helicopters, planes or multicopters. For me it’s 

not about the tool I’m using, it’s mainly the story and concept 

behind the photos. I spend more time doing research than 

getting the photos or the technique. 


94 95



96 97


Photographs: Yoshihiro Asada 

The internal space on the second floor that has secured a 

maximum height following the roof shape produced by the light 

coming in from a top light and space continuity, which results 

from eye-conscious design. 

The distinctive large window facing the park is composed of 

a high window that introduces enough natural light, and an 

opening that takes in gentle sun and breeze while blocking 

views from outside. The house fixture designed to be 

incorporated in the window frame which connects the spaces, 

and fills the room with dignity. 

Who is your role model? 

There are a lot of great people that achieved some extraordinary body 

of work in the past. I really appreciate looking at work from Georg Gerster 

and Yann-Arthus Bertrand. 

What inspires you in the design world? 

I am looking for projects that communicate a certain message in a 

convincing way. Not just in the design sector but also arts, documentary 

films, and exhibitions. 

S CAPE 


98 99


SOUL OF 

INDIA 

photography by Anjan Ghosh 

100 101


I am passionate about photography, especially in rural and 

semi-urban life. India is a country where the main essence comes out 

from the rural areas that make it unique among other countries. My 

intention is to search this uniqueness and produce them on the 

global platform. Urbanisation is swallowing down our daily lifestyle 

at a rapid pace. Yet, the Indian villages are competing with this 

urbanisation in a positive way for a long time. I do go to the 

interiors of my state [West Bengal] and literally ‘research’ the 

village lifestyle. And then, if needed take a few snaps. 


The windows as framings produce comfortable spaces where 

you can enjoy light and scenery with privacy. 

A table, bench, bookshelf, niche, and other furniture items are 

incorporated in spaces for you to view outside while reading 

books, eat meals, etc., which brings out characteristics of each 

area and provides its versatility. 

102 103


The area is composed of mortar with a feel of 

texture, highlighting its presence. At the same time, 

it provides openness created by the clear and 

continuous sightline. 


Holi also was known as the “festival of colours”, is a spring festival 

celebrated all across the Indian subcontinent as well as in countries 

with large Indian subcontinent diaspora populations such as 

Jamaica, Suriname, Guyana, Trinidad and Tobago, South Africa, 

Malaysia, the United Kingdom, the United States, Canada, 

Mauritius, and Fiji. It signifies the victory of good over evil, the 

arrival of spring, end of winter, and for many a festive day to meet 

others, play and laugh, forget and forgive, and repair broken 

relationships.It is also celebrated as a thanksgiving for a good 

harvest. It lasts for a night and a day, starting on the evening of the 

Purnima (Full Moon day) falling in the Vikram Samvat Hindu 

Calendar Also, the month space of Phalguna, also serves which as falls an somewhere between the end 

indispensable of February and element the middle that of March reflects in the visual Gregorian calendar. The 

changes first evening of light is known and scenery as Holika developed Dahan or Chhoti while Holi and the 

moving following around day as the Holi, room. Rangwali Holi, Dhuleti, Dhulandi, or Phagwah. 

104 105



The dynamic configuration involving the box-shape volume 

with a rhythmical layout of the windows produces beautiful 

life scenes where light and scenery are taken in while the eyes 

of the neighborhood are blocked. 

An annual Bengali festival, Vasanta Utsav heralds the coming of the 

spring season and is an integral part of the Bengali culture. It was 

the great Nobel- laureate Rabindranath Tagore who, under the 

overwhelming influence of the colourful Holi festival and the 

beautiful spring season on his poetic mind, introduced this 

lovely occasion as an annual event in his Bishwabharati University in 

Shantiniketan (West Bengal, India). Every year, the students and the 

youths of the institution, attired in colourful dresses like 

yellow, celebrate Holi in a very special way. A number of cultural 

programs, including group choreography, songs and dance 

performances, is staged. The programs are followed by frolic, as all 

the members of the university smear each other with coloured 

powders and express festive wishes. Since its inception, Vasanta 

Utsav has become a milestone of Bengali history and has also captured 

international interest that is proved by the presence of numerous 

foreign tourists during its celebration. 

The Holiday Spot has caught some glimpses of this warm, friendly, 

and rich with culture festival for you. 

106 107



108 109


110 111


1F Museum Exterior 

WIREFLOW 

©YAYOI KUSAMA 

Light through Transparency 

“Love Forever” is a series of 50 silkscreens transformed from a marker pen 

drawing series Kusama drew on F100 canvases (162x130.3cm/130.3x162cm) 

between 2004-2007. 27 works will be filling up the walls of the 2nd-floor 

gallery. 

Using black marker pen without hesitation, Kusama creates repetition 

and accumulation of abstract shapes such as lines and polka dots which 

are representative elements of Kusama’s art; and mysterious yet 

humorous forms like aliens that remarkably appear after this series 

brilliantly integrates on a monochrome canvas. 

The title “Love Forever” is a title she has used for her works many 

times, a strong message of the life praise. Please discover the artist’s 

love for the world spreading through the works. 

“Love Forever” series filling the gallery walls 

The museum has dedicated the work of one of the world’s most 

important and influential contemporary artists, Yayoi Kusama, opened 

in October 2017. Yayoi Kusama establishes the Yayoi Kusama Museum 

and managed by the general incorporated association, Yayoi Kusama 

Foundation with the purpose of presenting, promoting while preserving 

Kusama’s art through the exhibition of her artworks and related 

material. 

A principal aim of the museum is to be a welcoming, educational and 

Arik inspiring Levy space for broad and diverse audiences; it will transmit the 

WireFlow message of world peace and human love, which Kusama has embodied 

through her work and singular vision during her esteemed career. A 

Photograph courtesy of Alexandra 

series of biannual exhibitions of Kusama’s art will be held, as well as 

Public Relations ©ArikLEVY 

associated lectures. 

2F Gallery Installation View 

©YAYOI KUSAMA 

112 113

DESIGN 

INSPIRATION 

Images courtesy of Hayon Studio


Colour in Design 

Nastia Ibragimova 

Nastia Ibragimova is an aspiring designer from a small city called 

Pskov, Russia. “I was really bad at school, so at grade 9 I decided 

to transfer to a college where I pursued architecture. I loved it but 

there are so many restrictions and regulations where the possibility 

that your building to be executed were so low, so I decided to switch 

to Interior Design because to me it seemed more fun. After studying 

and graduating from the Bachelors in design, Nastia then moved to 

Saint- Petersburg, being closer to art movement she continued 

studying Masters. 

What inspired you to take your path in the design world? 

Sometime between my commercial projects, I like to create 

different interior settings, to practice as a set stylist. You may 

notice in a few images I experimented with arches, and I liked how 

surreal it looked, so I decided to create a similar space, but playing 

with different styles and colours. A couple of my designs were 

inspired by works of artists like Chirico, Magritte and Malevich. 

I think that good design works in complex, not only colour matters 

but textures as well (in interior design for example), but the 

meaning of colour is crucial. I really like to experiment with colours 

and light, even though I’m working only with few colour pallets I’m 

trying to develop. For example, green to me is a hard colour to work 

with which is why I rarely use it, but I am working on improving this 

use. 

This project to me was “just for fun”, so I did not have any 

limitation. I was just doing what my intuition told me to do. A day 

before I started a new scene, thinking that I would like to try to make 

it more of a violet in bold “Memphis” style, or something 

“suprematic” as a Russian avant-garde painting. By this creating the 

mood of my set (nothing logical). 

I created these scenic designs because I wanted to get creative, 

creating something juicy and colourful to brighten up the dull 

autumn mood. 

Images created by Nastia Ibragimova 

116 117


Images created by Nastia Ibragimova 

118 119


DESIGN 

INSIGHT 

Image courtesy of Lee Ching Tat 

120 121


D ESIGN INSIGHT 

T aste of J apan 

JAIME HAYONImages 

courtesy of Hayon Studio 

Artist-designer Jaime Hayon was born in Madrid in 1974. His artistic 

vision was first fully exposed in the “Mediterranean Digital Baroque” 

(London, 2003) and “Mon Cirque” (2006) installations. Those exhibitions put 

Hayon at the forefront of a new wave that blurred the lines between art, 

decoration and design and a renaissance in finely crafted, intricate objects 

within the context of contemporary design culture. Hayon further defined 

his vision in subsequent solo exhibitions and shows at major galleries and 

art fairs around the globe. Previous projects include the large, functional 

“Tournament” chessboard installed during London’s Design Week 2009 

(Trafalgar Square) and the “Funtastico” solo exhibition at the Groninger 

Museum (the Netherlands, 2013). In 2015, the High acquired Hayon’s “Green 

Chicken” rocking chair (2008) for its decorative arts and design collection. 

122 123


Hayon currently resides in Valencia, Spain, with offices in 

Barcelona and Treviso, Italy. His work has appeared in the most 

prestigious art and design publications worldwide, and he has won 

numerous awards, including multiple Elle Deco International Design 

awards. Wallpaper Magazine included Hayon in its “Design’s Top 100 

Power List” and recognized him as one of the most influential 

creators of the last decade. TIME magazine also lauded him as a 

“visionary” and one of the “most creative icons.” 

beautiful stand by Wittmann at Salone del Mobile Milano 2017 

Images courtesy of Hayon Studio 

124 125



126 127


La Terraza del 

Casino 

10 years after designing ’La Terraza del Casino,’ 

Jaime Hayon updates the space with a bold new 

perspective. The restaurant’s organic elements draw from 

Hayon’s artistic touch, surprising diners at different turns. 

Dressed for the occasion with deep blues and soft greens, 

and punctuated by elegant golden accessories, La Terraza del 

Casino simply shines with a new spirit. 


128 129



130 131


Images Image courtesy courtesy of Hayon of Lee Ching StudioTat 

132 133


What Inspires you ? 

134 135

2018 ISSUE 4 

D esign . .. 

C reate . .. 

I nspire 

136

Issue 4

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?