Tulip flower from origami
It's my work for "Catylac Cerah Menakjubkan" contest,
but i didn't win... :(
It's my work for "Catylac Cerah Menakjubkan" contest,
but i didn't win... :(
Read More..
Showing posts with label "RICHofEVE CoMpeTiTiOn". Show all posts
Showing posts with label "RICHofEVE CoMpeTiTiOn". Show all posts
Monday, May 2, 2011
Wednesday, January 13, 2010
+...FaiR-eTaLe...+
taken by Elene Usdin, Paris based artist who works primarily in photography.
Usdin’s "fair-etale" images were awarded Gold in Fashion: Chapter 3’s series category. She explains that the idea behind the series was injecting some magic in our real world which is so governed by new technology.
Thanks 2 Photography blog
Thanks 2 Photography blog
Wednesday, December 9, 2009
+...URbAn AiRGaP...+
‘Urban Airgap’ designed by Japanese firm Suppose Design Office.
It's a finalist project proposed for the Up to 35 competition in Greece.
The competition focussed on a rundown area of Athens city center which could be revitalised into student housing.
It's a finalist project proposed for the Up to 35 competition in Greece.
The competition focussed on a rundown area of Athens city center which could be revitalised into student housing.
In their research Suppose Design Office noted that the existing building designs in the Kerameikos-Metaxourgeio area did not allow for a window opening into the adjacent property.
‘Urban Airgap’ aimed to create as many openings – airgaps – on each site. This was achieved by building central core towers, containing a stairwell, to which the residential units are cantilevered from the cores and which form a sandwich that encloses the main social communal zone.
The final stage of the deliberations consisted of the Jury entering into skype video conferencing with each of the 5 finalists inviting them to participate in the second and final round of the Competition due in January 11th, 2010. They Jury offered advisory consultations to be followed by a report and instructions for this next stage.
Thanks 2 dsgnWrld
‘Urban Airgap’ aimed to create as many openings – airgaps – on each site. This was achieved by building central core towers, containing a stairwell, to which the residential units are cantilevered from the cores and which form a sandwich that encloses the main social communal zone.
The final stage of the deliberations consisted of the Jury entering into skype video conferencing with each of the 5 finalists inviting them to participate in the second and final round of the Competition due in January 11th, 2010. They Jury offered advisory consultations to be followed by a report and instructions for this next stage.
Thanks 2 dsgnWrld
Friday, October 2, 2009
+...AsTaNa NaTiONaL LiBRaRy...+
Architect BIG
Client Kazakhstan Presidential Office
Collaborators ARUP AGU
Size 33.000 M2
Location Astana, Kazakhstan
Status 1ST Prize
Partner-in-Charge Bjarke Ingels
Project Leader Thomas Christoffersen
Team Amy Campbell, Jakob Henke, Johan Cool, Jonas Barre, Daniel Sundlin
Client Kazakhstan Presidential Office
Collaborators ARUP AGU
Size 33.000 M2
Location Astana, Kazakhstan
Status 1ST Prize
Partner-in-Charge Bjarke Ingels
Project Leader Thomas Christoffersen
Team Amy Campbell, Jakob Henke, Johan Cool, Jonas Barre, Daniel Sundlin
Invited as one of five pre-selected architect led teams, BIG was awarded first prize in an open international design competition which included 19 entrants among others Lord Norman Foster and Zaha Hadid.
The new National Library, named after the first President of the Republic of Kazakhstan, Nursultan Nazarbayev, encompasses an estimated 33.000m2. The winning proposal was chosen by the Prime Minister of Kazakhstan K. Masimov together with Astana’s akim I.Tasmagambetov and a council of architects. The design was hailed as being both modern and rational and anchored in a classical vocabulary of traditional libraries. The circular organisation of the archive at its inner core combines the clarity of a linear organisation with the convenience of an infinite loop.
Being one of the future cornerstones of Kazakh nation building, and a leading institution representing the Kazakh national identity, designing the library went beyond a mere architectural challenge. The new National Library in Astana, Kazakhstan’s new capital since 1997, shall not only accumulate history but also provide a foundation for new futures for the nation and its new capital. It will serve as an intellectual, multifunctional and cultural center, with a primary goal of reflecting the establishment and development of a sovereign Kazakhstan, its political history, and the Head of the State’s activities and role in the development of the country.
The National Library will be the place where the citizens of Astana, the people of Kazakhstan as well as international visitors can come to explore the country’s history, its diverse cultures, its new capital and its first president. The Library will accommodate and communicate with all segments of the population: civil servants, politicians, researchers, students, museum historians and staff. The Library is conceived as a symbiosis of urbanity and nature. Like Astana, which is located in the heart of the Kazakh mainland, it will be integrated into the heart of a re-created Kazakh landscape. The park around the library is designed like a living library of trees, plants, minerals and rocks allowing visitors to experience a cross section of Kazakhstan’s natural landscape, and personally experience the capital’s transition across the country from Almaty to Astana.
In the library they will be able to study the history of the Kazakh culture and language present in the massive collection of books, magazines, film and other media. The archive is organized as a circular loop of knowledge, surrounded by light and air on both sides. On the periphery a 360 degree panorama of Astana – at the heart of the building a contemplative courtyard domed by the heavenly light blue of the celestial vault. The simplicity and perfection of the infinite circle allows for a crystal clear and intuitive orientation in the vast and growing collection that will populate the shelves of the National Library.
The ideal addition to the perfect circle will be a series of public programs that simultaneously wraps the library on the outside as well as the inside, above as well as below. Twisting the public program into a continuous spiraling path tracing the library on all sides, creates an architectural organization that combines the virtues of all 4 complimenting models. Like a Möbius strip, the public programs move seamlessly from the inside to the outside and from ground to the sky providing spectacular views of the surrounding landscape and growing city skyline.
The 2 interlocking structures: the perfect circle and the public spiral, create a building that transforms from a horizontal organization where library museum and support functions are placed next to each other, to a vertical organization where they are stacked on top of each other through a diagonal organization combining vertical hierarchy, horizontal connectivity and diagonal view lines. By wrapping the transforming composition of spaces with a continuous skin we create a Möbius strip volume where the facades move from inside to outside and back again.
The new National Library, named after the first President of the Republic of Kazakhstan, Nursultan Nazarbayev, encompasses an estimated 33.000m2. The winning proposal was chosen by the Prime Minister of Kazakhstan K. Masimov together with Astana’s akim I.Tasmagambetov and a council of architects. The design was hailed as being both modern and rational and anchored in a classical vocabulary of traditional libraries. The circular organisation of the archive at its inner core combines the clarity of a linear organisation with the convenience of an infinite loop.
Being one of the future cornerstones of Kazakh nation building, and a leading institution representing the Kazakh national identity, designing the library went beyond a mere architectural challenge. The new National Library in Astana, Kazakhstan’s new capital since 1997, shall not only accumulate history but also provide a foundation for new futures for the nation and its new capital. It will serve as an intellectual, multifunctional and cultural center, with a primary goal of reflecting the establishment and development of a sovereign Kazakhstan, its political history, and the Head of the State’s activities and role in the development of the country.
The National Library will be the place where the citizens of Astana, the people of Kazakhstan as well as international visitors can come to explore the country’s history, its diverse cultures, its new capital and its first president. The Library will accommodate and communicate with all segments of the population: civil servants, politicians, researchers, students, museum historians and staff. The Library is conceived as a symbiosis of urbanity and nature. Like Astana, which is located in the heart of the Kazakh mainland, it will be integrated into the heart of a re-created Kazakh landscape. The park around the library is designed like a living library of trees, plants, minerals and rocks allowing visitors to experience a cross section of Kazakhstan’s natural landscape, and personally experience the capital’s transition across the country from Almaty to Astana.
In the library they will be able to study the history of the Kazakh culture and language present in the massive collection of books, magazines, film and other media. The archive is organized as a circular loop of knowledge, surrounded by light and air on both sides. On the periphery a 360 degree panorama of Astana – at the heart of the building a contemplative courtyard domed by the heavenly light blue of the celestial vault. The simplicity and perfection of the infinite circle allows for a crystal clear and intuitive orientation in the vast and growing collection that will populate the shelves of the National Library.
The ideal addition to the perfect circle will be a series of public programs that simultaneously wraps the library on the outside as well as the inside, above as well as below. Twisting the public program into a continuous spiraling path tracing the library on all sides, creates an architectural organization that combines the virtues of all 4 complimenting models. Like a Möbius strip, the public programs move seamlessly from the inside to the outside and from ground to the sky providing spectacular views of the surrounding landscape and growing city skyline.
The 2 interlocking structures: the perfect circle and the public spiral, create a building that transforms from a horizontal organization where library museum and support functions are placed next to each other, to a vertical organization where they are stacked on top of each other through a diagonal organization combining vertical hierarchy, horizontal connectivity and diagonal view lines. By wrapping the transforming composition of spaces with a continuous skin we create a Möbius strip volume where the facades move from inside to outside and back again.
Project description courtesy of BIG
Thanks 2 +Mood
Thursday, April 30, 2009
+...MuSeO TaMaYo Ex-TeNSiOn ATiZaPaN...+
Michel Rojkind and BIG win competition for cultural museum in Mexico.
New Tamayo Museum will set upon a steep hillside in Atizapan on the outskirts of Mexico’s largest metropolis. The building will serve as a nucleus of education and culture - locally, regionally, and internationally – and continue to carry the name of the Oaxacan born artist Rufino Tamayo (1899-1991). The very strong and symbolic shape of the cross is a direct interpretation of the client’s preliminary program studies, defining an optimized organizational scheme for the Tamayo’s visitors and administrators.
The main concept of MUSEO TAMAYO EX-TENSION ATIZAPAN is an “Opened Box” that unfolds, opens and invites the visitors inside. Packaging, restoration and storage will serve as additional cultural spaces for visitors to understand and experience the stages that an art piece goes through before it is exhibited. The “open box” exhibits both the art work and the varied processes of a museum.
MUSEO TAMAYO EX-TENSION ATIZAPAN makes the best of the steep terrain allowing the galleries to shade the more social programs below, exterior and interior spaces overlap to provide the best environment possible for each function, and optimal climatic performance. The permeable brick shading façade eliminates or reduces the need for AC and combines good daylight with no sunshine and plenty of natural ventilation. Although it will be the museums symbolic provocation of its form and content that will attract its visitors, once there they will discover that its design, though modest, is intelligently and sustainably planned.
Michel Rojkind, Rojkind Arquitectos:
Understanding that contemporary art spaces pretend to be more important than the art they contain, our proposal arises from the scheme of requirements previously studied by our clients, assuring maximum functionality in each area while focusing on the development of art projects. By enhancing the program and understanding the topography, a balance between form, function and visual impact for this important space was created. Once the functional part was improved, we could give attention to details that make the space not only a culture enclosure, but also a building that understands its surroundings to distinguish itself and transform from a simple form to a powerful symbol, controversial, but ideal to lodge this new space.
Bjarke Ingels, BIG Partner-in-Charge :
When you ask contemporary artists what kind of space they would prefer to exhibit their work in – they almost always describe old industrial warehouses or loft spaces. It is the kind of space where they have their studios, but most importantly the rough structures, with large spans and generous ceiling heights provides them with the maximum freedom of expression. On the other hand the museum director or the mayor might want an icon that to attract visitors. So museum design is often caught in a dilemma between the artists demand for functional simplicity and the museum’s (and architect’s) desire to create a landmark. The cantilevering cross is the literal materialization of the cruciform functional diagram – devoid of any artistic interpretation. MUSEO TAMAYO EX-TENSION ATIZAPAN becomes the embodiment of pure function and pure symbol at the same time.
This is a very direct, strong and symbolic project, where the shape works effectively for both internal spaces and external. The cantilevered form enhances the best views above the interior art spaces, while shading the more social type spaces below. Exterior and interior spaces overlap to provide the best environment possible for each function, and optimal climatic performance.
Thanks 2 Dezeen
Read More..
New Tamayo Museum will set upon a steep hillside in Atizapan on the outskirts of Mexico’s largest metropolis. The building will serve as a nucleus of education and culture - locally, regionally, and internationally – and continue to carry the name of the Oaxacan born artist Rufino Tamayo (1899-1991). The very strong and symbolic shape of the cross is a direct interpretation of the client’s preliminary program studies, defining an optimized organizational scheme for the Tamayo’s visitors and administrators.
The main concept of MUSEO TAMAYO EX-TENSION ATIZAPAN is an “Opened Box” that unfolds, opens and invites the visitors inside. Packaging, restoration and storage will serve as additional cultural spaces for visitors to understand and experience the stages that an art piece goes through before it is exhibited. The “open box” exhibits both the art work and the varied processes of a museum.
MUSEO TAMAYO EX-TENSION ATIZAPAN makes the best of the steep terrain allowing the galleries to shade the more social programs below, exterior and interior spaces overlap to provide the best environment possible for each function, and optimal climatic performance. The permeable brick shading façade eliminates or reduces the need for AC and combines good daylight with no sunshine and plenty of natural ventilation. Although it will be the museums symbolic provocation of its form and content that will attract its visitors, once there they will discover that its design, though modest, is intelligently and sustainably planned.
Michel Rojkind, Rojkind Arquitectos:
Understanding that contemporary art spaces pretend to be more important than the art they contain, our proposal arises from the scheme of requirements previously studied by our clients, assuring maximum functionality in each area while focusing on the development of art projects. By enhancing the program and understanding the topography, a balance between form, function and visual impact for this important space was created. Once the functional part was improved, we could give attention to details that make the space not only a culture enclosure, but also a building that understands its surroundings to distinguish itself and transform from a simple form to a powerful symbol, controversial, but ideal to lodge this new space.
Bjarke Ingels, BIG Partner-in-Charge :
When you ask contemporary artists what kind of space they would prefer to exhibit their work in – they almost always describe old industrial warehouses or loft spaces. It is the kind of space where they have their studios, but most importantly the rough structures, with large spans and generous ceiling heights provides them with the maximum freedom of expression. On the other hand the museum director or the mayor might want an icon that to attract visitors. So museum design is often caught in a dilemma between the artists demand for functional simplicity and the museum’s (and architect’s) desire to create a landmark. The cantilevering cross is the literal materialization of the cruciform functional diagram – devoid of any artistic interpretation. MUSEO TAMAYO EX-TENSION ATIZAPAN becomes the embodiment of pure function and pure symbol at the same time.
This is a very direct, strong and symbolic project, where the shape works effectively for both internal spaces and external. The cantilevered form enhances the best views above the interior art spaces, while shading the more social type spaces below. Exterior and interior spaces overlap to provide the best environment possible for each function, and optimal climatic performance.
Thanks 2 Dezeen
Wednesday, April 15, 2009
+...NaTiOnAL MuSeUm oF AfRiCaN AmEriCaN HiStOrY aNd CuLTuRe...+
Freelon Adjaye Bond/SmithGroup - a team consisting of architects Adjaye Associates, The Freelon Group and David Brody Bond Aedas - has won a competition to design the National Museum of African American History and Culture on National Mall in Washington DC, USA.
The Smithsonian today announced that Freelon Adjaye Bond/SmithGroup has been chosen as the architectural team to design the National Museum of African American History and Culture to be located on the National Mall near the Washington Monument. The selection was made by a jury chaired by Museum Director Lonnie G. Bunch III. Freelon Adjaye Bond/SmithGroup was among six architectural firms that entered a design competition in January.
“I am pleased to have the opportunity to work with this talented team,” said Bunch. “Their vision and spirit of collaboration moved all members of the design competition jury. I am confident that they will give us a building that will be an important addition to the National Mall and to the architecture of this city.”
Steven M. Davis, FAIA, Partner of Davis Brody Bond said, “This is an obviously exciting day for us. The opportunity to design a landmark building on the last great site of the National Mall is something beyond our dreams. The experience working with this fantastic collaboration of Phil Freelon and David Adjaye has been immensely gratifying. Considering the strength of the competition, we are truly honored to have been selected.”
This project represents the culmination of the career and legacy of J. Max Bond, Jr., FAIA who died on February 18, 2009 in the middle of the design competition phase. Steven Davis, FAIA, affirms, “The joy of this moment comes with mixed emotions. Max Bond who was my partner for over 20 years worked tirelessly in conceiving the programming and design of our submission. We miss him especially on this incredible day.”
Freelon Adjaye Bond said in its design concept materials, “The National Museum of African American History and Culture—the institution and the building—embodies the African American spirit. Majestic yet exuberant, dignified yet triumphant, the building will be worthy of the museum’s vision, and its prominent place on the National Mall.”
The core design team selected by the Smithsonian consists of three firms—The Freelon Group, Adjaye Associates, and Davis Brody Bond. The Freelon Group will ensure that the design reflects the values and priorities of the museum and the Smithsonian. The Freelon Group designed the Museum of the African Diaspora in San Francisco and the Reginald F. Lewis Museum of African American History and Culture in Baltimore. Adjaye Associates will focus on the formal development and refinement of the building design. Adjaye Associates designed the Nobel Peace Centre in Oslo, Norway, and the Museum of Contemporary Art in Denver. Davis Brody Bond will have the primary role of assuring adherence of the design to the program and vision. Davis Brody Bond is the Design Architect for the National September 11 Museum and, as Associate Architect, is executing the design of the National September 11 Memorial at the World Trade Center. The firm also led the restoration and expansion of the New York Public Library. The Smith Group joined the FAB team to provide the resources necessary for delivering the design documents. The SmithGroup is an international architectural and engineering firm with offices in Washington, D.C., that designed the Normandy American Cemetery Interpretive Center in France. This unique collaboration combines a multi-generational understanding of African American culture with the ability to execute one of the nation’s most significant civic institutions.
The Freelon Group and Davis Brody Bond led the programming study for the museum which was completed in the fall of 2008 and are intimately familiar with the mission of the museum.
The building design will take up to three years, with construction to begin in 2012. Set to open in 2015, the museum’s total cost is estimated to be $500 million, including design. During the design phase, the Smithsonian will seek approval from the National Capital Planning Commission. In addition, the Institution will continue to consult with other Washington, D.C., agencies and organizations, including the U.S. Commission of Fine Arts, the Advisory Council on Historic Preservation, the National Park Service and the National Coalition to Save Our Mall.
Freelon Adjaye Bond/SmithGroup was one of 22 teams that responded to the Request for Qualifications in summer 2008. The six firms selected to participate in the design competition were announced in January 2009. The National Museum of African American History and Culture was established in 2003 by an Act of Congress. Although it does not have a building yet, the museum is collecting artifacts; conducting seminars and symposia, including a recent two-day program on Black Power; gathering African American oral histories for StoryCorps, a joint program with National Public Radio and the Library of Congress; and creating traveling exhibitions such as “Let Your Motto Be Resistance.” In addition, the museum has its own gallery in the National Museum of American History, which currently is exhibiting “The Scurlock Studio and Black Washington: Picturing the Promise.”
About Davis Brody Bond Aedas:
Headquartered in New York and with offices in Washington, DC; São Paulo, Brazil; and Seattle, Washington, Davis Brody Bond is among the nation’s leading architectural design firms. Known for innovative solutions to complex design challenges, the firm’s work encompasses university facilities, housing, corporate offices, industrial and institutional buildings. The firm has been honored with more than 100 major design awards including the American Institute of Architects Firm Award, the highest honor given to an architectural practice as well as the 2000 Presidential Design Award for Excellence.
Among it’s commissions are such diverse projects as a new infill building and restoration of the historic New York Public Library, the Ford Motor Company Engineering Design Center at Northwestern University, research facilities for Harvard University, industrial facilities in Central and South America for Valeo, the Data Processing and Administrative Center for the U.S. Census Bureau, and the master planning and design of a new university in Zimbabwe. Davis Brody Bond is the Design Architect for the National September 11 Museum and, as Associate Architect, is executing the design of the National September 11 Memorial at the World Trade Center.
The Smithsonian today announced that Freelon Adjaye Bond/SmithGroup has been chosen as the architectural team to design the National Museum of African American History and Culture to be located on the National Mall near the Washington Monument. The selection was made by a jury chaired by Museum Director Lonnie G. Bunch III. Freelon Adjaye Bond/SmithGroup was among six architectural firms that entered a design competition in January.
“I am pleased to have the opportunity to work with this talented team,” said Bunch. “Their vision and spirit of collaboration moved all members of the design competition jury. I am confident that they will give us a building that will be an important addition to the National Mall and to the architecture of this city.”
Steven M. Davis, FAIA, Partner of Davis Brody Bond said, “This is an obviously exciting day for us. The opportunity to design a landmark building on the last great site of the National Mall is something beyond our dreams. The experience working with this fantastic collaboration of Phil Freelon and David Adjaye has been immensely gratifying. Considering the strength of the competition, we are truly honored to have been selected.”
This project represents the culmination of the career and legacy of J. Max Bond, Jr., FAIA who died on February 18, 2009 in the middle of the design competition phase. Steven Davis, FAIA, affirms, “The joy of this moment comes with mixed emotions. Max Bond who was my partner for over 20 years worked tirelessly in conceiving the programming and design of our submission. We miss him especially on this incredible day.”
Freelon Adjaye Bond said in its design concept materials, “The National Museum of African American History and Culture—the institution and the building—embodies the African American spirit. Majestic yet exuberant, dignified yet triumphant, the building will be worthy of the museum’s vision, and its prominent place on the National Mall.”
The core design team selected by the Smithsonian consists of three firms—The Freelon Group, Adjaye Associates, and Davis Brody Bond. The Freelon Group will ensure that the design reflects the values and priorities of the museum and the Smithsonian. The Freelon Group designed the Museum of the African Diaspora in San Francisco and the Reginald F. Lewis Museum of African American History and Culture in Baltimore. Adjaye Associates will focus on the formal development and refinement of the building design. Adjaye Associates designed the Nobel Peace Centre in Oslo, Norway, and the Museum of Contemporary Art in Denver. Davis Brody Bond will have the primary role of assuring adherence of the design to the program and vision. Davis Brody Bond is the Design Architect for the National September 11 Museum and, as Associate Architect, is executing the design of the National September 11 Memorial at the World Trade Center. The firm also led the restoration and expansion of the New York Public Library. The Smith Group joined the FAB team to provide the resources necessary for delivering the design documents. The SmithGroup is an international architectural and engineering firm with offices in Washington, D.C., that designed the Normandy American Cemetery Interpretive Center in France. This unique collaboration combines a multi-generational understanding of African American culture with the ability to execute one of the nation’s most significant civic institutions.
The Freelon Group and Davis Brody Bond led the programming study for the museum which was completed in the fall of 2008 and are intimately familiar with the mission of the museum.
The building design will take up to three years, with construction to begin in 2012. Set to open in 2015, the museum’s total cost is estimated to be $500 million, including design. During the design phase, the Smithsonian will seek approval from the National Capital Planning Commission. In addition, the Institution will continue to consult with other Washington, D.C., agencies and organizations, including the U.S. Commission of Fine Arts, the Advisory Council on Historic Preservation, the National Park Service and the National Coalition to Save Our Mall.
Freelon Adjaye Bond/SmithGroup was one of 22 teams that responded to the Request for Qualifications in summer 2008. The six firms selected to participate in the design competition were announced in January 2009. The National Museum of African American History and Culture was established in 2003 by an Act of Congress. Although it does not have a building yet, the museum is collecting artifacts; conducting seminars and symposia, including a recent two-day program on Black Power; gathering African American oral histories for StoryCorps, a joint program with National Public Radio and the Library of Congress; and creating traveling exhibitions such as “Let Your Motto Be Resistance.” In addition, the museum has its own gallery in the National Museum of American History, which currently is exhibiting “The Scurlock Studio and Black Washington: Picturing the Promise.”
About Davis Brody Bond Aedas:
Headquartered in New York and with offices in Washington, DC; São Paulo, Brazil; and Seattle, Washington, Davis Brody Bond is among the nation’s leading architectural design firms. Known for innovative solutions to complex design challenges, the firm’s work encompasses university facilities, housing, corporate offices, industrial and institutional buildings. The firm has been honored with more than 100 major design awards including the American Institute of Architects Firm Award, the highest honor given to an architectural practice as well as the 2000 Presidential Design Award for Excellence.
Among it’s commissions are such diverse projects as a new infill building and restoration of the historic New York Public Library, the Ford Motor Company Engineering Design Center at Northwestern University, research facilities for Harvard University, industrial facilities in Central and South America for Valeo, the Data Processing and Administrative Center for the U.S. Census Bureau, and the master planning and design of a new university in Zimbabwe. Davis Brody Bond is the Design Architect for the National September 11 Museum and, as Associate Architect, is executing the design of the National September 11 Memorial at the World Trade Center.
Thanks 2 Dezeen
Read More..
Thursday, April 2, 2009
+...YuMmY!!!!...+
+...PrOuDLy PrEsEnTs M&M CoOKiE...+ by EvTeVe on Polyvore.com
Yaaay...my yummy set has won 6th place for Melt's in Your Mouth! contest..!!!
Read More..
Yaaay...my yummy set has won 6th place for Melt's in Your Mouth! contest..!!!
Sunday, March 22, 2009
+...SpRiNg FeELLiNg...+
+...(^__$)...+ - by EvTeVe on Polyvore.com
Yaaaay.......My spring set has won 3rd place from Spring Feeling contest!!!!!
Thursday, March 12, 2009
+...ThE NeXt EpiSoDe...+
Lapponia Jewelry, one of the leading jewelry design companies in Europe, introduces
'The next episode"
an international jewelry design competition to honour its forthcoming 50th anniversary in 2010.
The design competition is arranged to encourage young talents to design contemporary art as well as to improve their possibilities to present their work internationally. Lapponia Jewelry welcomes all young talents to join the celebration.
The Lapponia International Design Competition has been organized by Lapponia Jewelry Oy, Helsinki, Finland, one of the leading jewelry design companies in Europe.
From the beginning, Lapponia’s mission was to revolutionise the conservative approach to jewelry design through its unique art-jewelry inspired by Nordic nature.
Lapponia is the art of expression - a reciprocal statement between the artist and the wearer, allowing both parties to express their values by the jewelry they design or wear.
Today the Lapponia Collection is the creation of six experienced and internationally known artists: Björn Weckström, Zoltan Popovits, Poul Havgaard, Christophe Burger, Pekka Hirvonen and Chao-Hsien Kuo. The jewerly is available in Scandinavia, central Europe and Japan.
The competition will celebrate the forthcoming 50th anniversary in 2010 of Lapponia Jewelry. Through the competition Lapponia will encourage young talented designers to create contemporary artworks as well as presenting an opportunity for them to show their work to an international audience.
For more information, click here
Saturday, March 7, 2009
+...My HaPpY DaY...+
+...My HaPpY DaY...+ - by EvTeVe on Polyvore.com
Yiiipyyy....!!!!
+...My HaPpY DaY...+ set win 4th place on "Put on a Show" contest...!!!
Read More..
Yiiipyyy....!!!!
+...My HaPpY DaY...+ set win 4th place on "Put on a Show" contest...!!!
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