Club Life of Madrid

The extravagant Night Club «MUSEE» located in Madrid (Spain), is creative symbiosis of gallery of the modern art and the fashionable center of night life of a megacity.

The visual concept of club is concentrated round black color, glasses and mirrors which are a fine collective background for expressive design furniture, the three-meter light-emitting diode screen, pictures of known modern artists, and also various products of video arts and other objects which are of interest, from the point of view of art and creative style of club atmosphere.

The apartments interior of the night club does not carry constant character. Now institution walls decorate works of German photographer Robert Bartholot, the Madrid pictorialist Paco Peregrin and the illustrator from New York Glenn Hilario.

Modern Art Club

The visual holiday is accompanied by musical mixes from hot Madrid DJs, and the unique conceptual status gives to an institution the exclusively elite status.

VIA «Night Club MUSEE [Madrid]»

BASE in Belgium

Belgian design bureau Creneau International has finished creation of an interior of the central shop of the largest supplier of mobile phones in Belgium, companies BASE.

Designers have suggested to install unusual furniture and mobile show-windows in a shop interior.

The Mobile Installations

Sedentary places are scattered on all interior in the form of huge letters from which the brand name gathers: BASE.

VIA «Mobile Interior by Creneau International»

VIA «Lisbon harbour»

The Unusual Swedish Apartment

This artistic and inventive loft, made of various geometrical forms — spacious and light apartment of famous Swedish artist Carouschka Streijffert.
The atypical interior of the apartment located on an attic of one house in Stockholm, at first sight, can seem freakish or even unusual. Actually, abstract playful forms, co-operating with each other, create the thought about the harmonic space.

Unusual Stockholm Attic

So, for example, a library zone organically is created by from a wooden rack and round windows; also an unusual configuration of a floor and futuristic chair «LC2» by Le Corbusier center on a rug executed under the sketch of the owner of apartment.

A Art Apartments

One of the basic visual dominants of apartment is the art fireplace artly integrated into a ladder. On the color scale and some other obvious signs, this white interior is close to new Scandinavian style which, like eclectic loft, is formed of pictures, art objects and the interior elements of different Scandinavian epochs.

VIA «Unusual Loft of the Swedish Artist»

Confindustria Ceramica

Confindustria Ceramica — the Italian Association of Ceramic Tile Manufacturers - has appointed us with the promotion of an integrated campaign aimed at enhancing the global perception of "Italian Ceramic Tiles".

The project originates out of the need to redefine the product positioning, reviving its role as a main component in design, life style, fashion, new housing styles, and with a view to extending the industry targets by involving ever more competitive, creative consumers, who are strongly fascinated by trendy products.

The Italian Ceramics means Infinite Creativity

The campaign strategy and concept have been identified from the unique product plus: ceramics is basically the only type of tile with which a practically infinite range of shapes, colours, and solutions is possible. Following a target audit phase, in which an opinion poll and one-to-one interviews have been conducted, the campaign has further developed through an integrated project guided by PR actions and implemented in different communication channels: off-line advertising, events, TV, web communication, web portal.

Several actions have been carried out over a period of about one year with appearances on TV channels, newspapers and magazines (editorials, web, TV, events) for a total of approximately 114 million contacts.

Confindustria Ceramica is the Italian Association of Ceramic Tile and Sanitary Appliance Manufacturers — in charge of promoting Italian ceramic products both in Italy and abroad. In the past few years, ceramics has lost appeal versus its competitors: i.e. wood, stone, or resin tiles, deemed to be more prestigious and "trendy". Ceramics is considered to be a "poor", "cold", "uncool" products, suitable only for some specific settings (e.g., kitchens and bathrooms).

Italy Has Always Been the Most Important Producer of Ceramic Tiles In the World

The campaign aims to revamp ceramics as a creative, prestigious, and trendy solution. Ceramics has the right "credentials" to play a leading role in design, fashion, new life styles and architectural design: from all rooms in the house, to large buildings and public spaces.

There are two main reference targets: namely "insiders" (architects, designers, interior designers) and an increasingly larger group of "consum-actors", who are creative, motivated, well informed and who want to play a leading role in creating their own world.

In order to define the target’s needs: opinion poll by Eurisko and one-to-one interviews to some selected influencers.

The Innovations Developed by Ceramics Manufacturers:

The campaign strategy and concept have been identified from the unique plus that distinguishes ceramics from all its competitive products: thanks to a major product innovation developed by ceramics manufacturers, ceramics is the only type of tile with which a practically infinite range of shapes, colours, sizes, decorations, and finishings is possible.

For this reason, ceramics is "Infinite Creativity", and it perfectly meets the needs of Consum-actors, who favour solutions that allow them to pursue an exclusive and personal style. Ceramic tiles and consum-actors are the perfect match.

Unlike previous industry campaigns that were somehow self-referencing — our product is beauty and technology, — this campaign focuses on consumers (and industry experts) by fuelling their desire to play a leading role, while suggesting them that ceramics is the right product to fulfil it.

The campaign has been implemented along two complementary planes: a PR action, aimed at prompting rational purchase motivations (brain), as well as a whole set of integrated strongly emotional actions with a view to consolidating the new product positioning: ceramics as a creative choice (heart).

VIA «The Italian Association of Ceramic Tile Manufacturers»

Car factory in Paris

AREP builds on city's historic legacy with redevelopment of former car factory in Paris. AREP has redeveloped the former Panhard car factory in Porte d'Ivry, Paris, applying exciting design choices to work with the city's existing heritage.

The Panhard and Levassor workshops were partially demolished in 1967 to create the Olympiades district. They are the last remnants of a thriving industrial past, after the demolition of all the automobile plants in Paris: the Renault facilities on Ile Séguin, Citroën in Javel and part of the Panhard factory at Porte d'Ivry.

Between 2007 and 2013, AREP extended and entirely refurbished the building to create 21,000 sq m of office space as well as public facilities (a nursery and the premises of a non-profit organisation running a day centre for the homeless). The firm worked with architects Jean-Marie Duthilleul and Etienne Tricaud and with Benoît Ferré and Serge Caillaud (Phase 1 and Building Work Management).

In an environment dominated by the verticality of high-rise residential blocks, the project keeps the former factory alive, sustains its horizontality and unique architectural style and relies on the ornamental features of the existing façades: materials, dominant chromatic palette and contour line.

The brick façade provides a mineral base extending the current façades while the openings are in line with the rhythm of the original building. Each, partially or entirely, new façade forms a coherent whole with the reinforced mineral angles providing the framework for a more open sequence in the centre.

Two large industrial-style statuesque boxes loom above the roof-top mouldings, clad in a double semi-transparent layer of glass and perforated coppery metal and echoing the tiles on the saw tooth roofs. These are intended as a metaphor of the former industrial features.

The adjacent cut of the Petite Ceinture (an abandoned railway line) was decked over to create a garden. Planted with ground covering plants, shrubs and trees, the garden slopes down from Rue Regnault to the new garden level, reflecting the characteristic bucolic image of the embankments of the Petite Ceinture, where vegetation takes over any available space.

The new extension houses a nursery in its north-east corner and a day centre for the homeless in its north-west corner, both situated on the garden and ground-floor levels.

The work spaces inside the building are designed to facilitate contact, interaction, formal and informal relations. This result is achieved through clearly designed spaces (atrium and vertical access flows), quality of the working environment (natural light, acoustics and ergonomics) and green spaces.

VIA «Redevelopment of the Car Factory In Porte d'Ivry [France, Paris]»

VIA «The house of the Italian photographer»

The Unique Canadian House

The two-storeyed Integral House located near to countryside of suburb Toronto (Canada), belongs to Dr. James Stewart (the Canadian professor of mathematics, famous violoncellist). The Canadian architectural studio «Shim-Sutcliffe Architects» became authors of the project of the unique house.

From Curvilinear Exterior to Curvilinear Interior

The top part of a building is created as a translucent structure with glass facades. The bottom level consists of strong oak walls. This variety of the vertical glazed apertures and the natural oak's exterior cover is a maximally harmoniously integrated into a natural Canadian landscape.

The passion of the client to «curves» was a starting point for design of the future house. These curvilinear interior details with doubled integrals and unusual architectural corners provide to the Integral House the unique spatial form penetrating all architectural project. Besides it, for a house interior the furniture from the legendary manufacturer is used.

Definition «the frozen music» — the fully describes this unique country house. For this reason all elements of exteriors and fragments of interiors perfectly sounds in the general symphony of an interior and appearance of the wooden Canadian house.
The main place in the house is the concert zone in which simultaneously can arrive more than 150 persons. At top level the dining room and a drawing room which is carrying out also function of theatrical balconies.

The house is designed taking into account power of innovative architectural technologies and the good acoustic characteristics necessary for the ideal sound effect of a violoncello. Thus, it's possible to declare with confidence that a home renovations are the innovative architectural standards of housing construction.

VIA «Integral House [Toronto, Canada]»

Emerald Interior and Exterior

The world's largest paint retailer, Sherwin-Williams, is the only paint company with a VOC-free, environmentally responsible colorant that can tint all 1,500 of its colors. The washability of Emerald Interior and Exterior doesn't make its colors any less vibrant. Print ads for Emerald showcase the rich, sumptuous palettes of Sherwin-Williams through the imagery of London-based artist Mark Mawson. Those who wish to pamper their walls paint with Emerald.

Agency: McKinney;
Country: United States of America;
Chief Creative Officer: Jonathan Cude;
Group Creative Director: Ellen Steinberg;
Art Director: Jordan Eakin;
Copywriter: Ian Fairbrother;
Retoucher: Stacy Evans;
Photographer: Mark Mawson;
Print Producer: Lauren March;
Print Producer: Kellie Bingman.

Sherwin-Williams: TV Commercial

VIA «New Emerald Paint»

New Interior of the Bank

As the sector of financial services is very abstract to most people, the main challenge with regards to the contents was to develop innovative and exciting narrative formats that create a tangible experience. Design wise we wanted to avoid permanent spatial logos that dominate and frame the space with simple 3D extrusion, thus, we had to find a subtle though still clearly recognisable way of translating it into spatial architecture.

As part of the redesign of their corporate headquarters, Deutsche Bank took the opportunity to create a permanent brand space. The brief was to shape an environment where their well-known logo designed by Anton Stankowski is embodied within the space and where customers, employees and external visitors would be able to experience and to connect with the Deutsche Bank brand. All relevant aspects of the company, beginning with its history and extending to its various business divisions and their contributions to society today should be communicated to the visitor.

Using the concept of anamorphosis abstract architectural structures have been designed to only reveal themselves as the logo when viewed from specific sweet spots. Parts of the logo sculptures are formed by incorporated media installations that allow the visitor to physically experience and interact with the brand. One of the sculptures is touch-sensitive – here networked information bits can be explored. The second reacts to the visitor, whose physical motions trigger the display of statistic data. The third, a kinetic sculpture communicates the brand values precision and passion in a metaphorical, emotional way.

Since the opening on April 6, more than 20,000 visitors came to see the Brand Space. Board members use the space to hold receptions, functions such as HR are using it for employee activities, bank managers invite partners and clients, and the press department welcomes journalists in the Brand Space. Moreover, marketeers from international companies come to experience the space, as it’s the first brand space for a financial services brand.

Advertiser/Client: DEUTSCHE BANK;
Entrant Company: ART+COM Berlin, GERMANY;
DM/Advertising Agency: ART+COM Berlin, GERMANY;
2nd DM/Advertising Agency: COORDINATION Berlin, GERMANY;
Creative Director: Joachim Sauter (ART+COM);
Creative Director: Jochen Gringmuth (Coordination);
Project Manager: Gert Monath (ART+COM);
Art Director: Eva Offenberg (ART+COM);
Art Director: Petra Trefzger (ART+COM);
Architect: Jeanette Riedel (Coordination);
Head Of Media Technology: Björn Seeger (ART+COM);
Designer: Arne Michel (ART+COM);
Computational Designer: Christian Riekoff (ART+COM);
Head Of Development: Sebastian Heymann (ART+COM).

Deutsche Bank, Frankfurt am Main

VIA «Brand Space of the Deutsche Bank»

Luxury yacht by Norman Foster

VIA «Design yacht»