![]() Through a system of high digital and virtual technology, including that of holograms, New Murabba will achieve the title of the world’s first immersive destination. It is the intention of His Royal Highness Crown Prince Mohammad bin Salman bin Abdulaziz, chairman of the New Murabba Development Company, to develop a world-leading urban model that will combine housing and experiential functions. In this way, the Dutch designer succeeds in activating attention to consumerism and its consequences, emphasizing the need to approach reuse practices that, through art and creativity, can take on stimulating nuances. The works take on an almost robotic, mechanical form that projects the modern archetype into the future. The precarious and fragile aspect is highlighted by Castignola, who makes his pieces through the use of elements that appear as broken, then united together by large screws. ![]() The viewer immediately recognizes the form and easily interprets it because of the emotional closeness that the object evokes.Īmong the various memories, one cannot miss the splintered or legless, broken or cracked chair that, without hesitation, was thrown away to be replaced. Pierre’s attention to semiotics and symbolism is made explicit in his choice of the plastic armchair, which arouses a nostalgic feeling in the audience, hitting our memory pool. According to the designer, creative people are restricted by copyright law, most of which is owned by large corporations, thus claiming the freedom of artists.Īlso selecting other everyday objects and incorporating them into his own projects, Castignola ideas critical designs that combine the everydayness with research. Pierre Castignola reasons about the principle of copyright and examines the difficult relationship between patent law and the freedom to create. Through a creative process of cuts and decompositions, the artist reassembles parts of chairs with different shapes together, creating a unique, cubist-looking design object. Pierre Castignola (1995), a young Dutch designer graduated at the Design Academy in Eindhoven, chose this armchair with no intellectual property as his object of study, becoming the protagonist of his project titled Copytopia. Its large-scale presence stems from the fact that the original design was never patented in fact, no one knows who its creator is. Found in suburban cafes, schoolyards and various gathering places, it is produced in numerous variations by thousands of manufacturers. The white plastic garden armchair, with pronounced arms and a stackable, one-piece back, is an object as neutral as it is widely used. We at Collater.al have selected the 10 best shots from “ The Tragedy of Macbeth” that we’re sure will make you want to see the film (available on Apple TV+), if you haven’t already. The result is that we’re watching a movie, but it feels like we’re at the theater, a theater where we can go on stage and follow the characters inside an aseptic castle, whose walls look like they’re made of tissue paper ready to be swept away. ![]() Joel Coen has combined cinema and theater in little more than an hour and a half and the key to success can be found in three elements: the use of black and white, the perfect fusion of photography – by Bruno Delbonnel – and set design – by Stefan Dechant and Nancy Haigh – and the decision to shoot entirely on location. Joel Coen decided to sign for the first time the direction of a film without his brother Ethan, confronting himself with one of Shakespeare’s greatest masterpieces and entrusting the two main roles to Frances McDormand and Denzel Washington, who received a nomination for Best Actor in a Leading Role. Among the films that have received Oscar nominations, the one that is receiving the most praise from critics, but not only is “The Tragedy of Macbeth”.
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