The Citizens Advertising Takeover Service replaced 68 adverts in Clapham Common tube station with pictures of cats. Organisers say they hope the pictures will help people think differently about the world around them. Credit: CatsnotAds.org
The Clapham Common Tube station in London is currently covered in cats, and for the most part it’s just as straightforward as it may seem. A project known as the Citizens Advertising Takeover Service (or CATS), took over 68 advertisements in the station as a way to bring cute imagery into the daily vision of passersby, while momentarily ceasing the onslaught of continuous advertising faced during daily commutes, and life. CATS secured the money to finance the project through a Kickstarter campaign six months ago, and in the end raised £23,000.
Started by Glimpse, CATS is the first project by the collective who hopes to bring about social change via creative campaigns. Many of the cats Glimpse photographed for the 68 advertisements are stray cats from two rescue charities, Battersea Dogs & Cats Home, and Cats Protection. You can learn more about the two organizations on Glimpse’s website. (via Laughing Squid, PetaPixel)
For his first ever public intervention in London, street artist Pejac (previously) created four installations of sneakers hanging from lampposts with a slight twist: the shoes dangle up instead of down. The head-scratching installations titled “Downside Up” can be found around East London and are a teaser ahead of a solo show that opens next month.
Over 100 feet below the bustling streets of London is a cavernous, abandoned space. Originally built to serve as a bomb shelter during World War II, it was designed to house and protect the lives of nearly 8,000 people. The space remained abandoned for close to 70 years until entrepreneurs Richard Ballard and Steven Dring decided to turn it into the world’s first subterranean farm called Growing Underground. And surprisingly, where the sun doesn’t shine turns out to be an ideal setting for a garden.
The vertically stacked hydroponic beds are best for growing small, leafy greens that have a short growth cycle like watercress, Thai basil and Japanese mizuna. And with a state-of-the-art computer controlling temperature, lighting and nutrients the subterranean farm can deliver consistent produce without sunlight (or pesticides!) and with 70% less water than conventional farms, hence the company’s parent name: Zero Carbon Food.
With the help of chef Michel Roux, the operation is now partnering with local restaurants to deliver farm-to-table produce in under 4 hours. Once fully operational, it’s estimated Growing Underground will be able to produce between 11,000-44,000 pounds of crops annually. (via Bloomberg)
French artist and photographer Charles Pétillion has just unveiled a cumulus cloud composed of 100,000 white balloons illuminated from the inside at London’s Covent Garden. Titled ‘Heartbeat,’ the installation was created as part of the upcoming London Design Festival and stretches the length of the South Hall ceiling of the Market Building. Pétillion is known for his use of white balloons to fill unusual spaces, a photographic series he refers to as Invasions. This is by far his largest installation to date and his first public art piece. He shares about Heartbeat:
The balloon invasions I create are metaphors. Their goal is to change the way in which we see the things we live alongside each day without really noticing them. With Heartbeat I wanted to represent the Market Building as the beating heart of this area – connecting its past with the present day to allow visitors to re-examine its role at the heart of London’s life.
Each balloon has its own dimensions and yet is part of a giant but fragile composition that creates a floating cloud above the energy of the market below. This fragility is represented by contrasting materials and also the whiteness of the balloons that move and pulse appearing as alive and vibrant as the area itself.
The installation will be on view through September 27, 2015, and you can watch a timelapse video of its construction and an interview with Pétillion below. (via Designboom)
Long gone are the days when our first instinct is to migrate to a spinning globe to track the destinations around us or find a specific country. Now we have the power to digitally zoom in and out of the entire earth, utilizing mapping tools like Google Earth. The romanticism tied to these newer forms however, does not match the art of the ancient globe, the earliest dating back to the mid-2nd century B.C. Nowadays globes are either modern and massively produced, or antiquated models unsuited for casual browsing.
Frustrated by this lack of quality options when trying to find a globe as a present, Peter Bellerby started Bellerby & Co. Globemakers in order to produce globes that exist somewhere in-between the two options. “I did this as a direct result of looking, searching for a globe for my father for his 80th birthday, and I couldn’t find anything,” said Bellerby. “Initially my plan was to make one for him and maybe one for me if I had the budget.”
After spending tens of thousands of dollars more than he had originally predicted on the process, he decided to use what he’d learned to set up a company in 2008, eventually moving into their current location in Stoke Newington, London. The company employs a small team of makers that fastidiously work in an open environment with large windows, nestled between test sheets of watercolor paints and hanging strips of paper twirling from clothes pins. To master the process of applying paper to the sphere globes (called “goring”) can take up to a year or more.
“It’s been something that’s been an incredible challenge. The whole design process, the whole way of making anything using a sphere at its base, at its centerpiece is fraught with different problems and issues because you are multiplying every error by pi,” said Bellerby.
Bellerby & Co. Globemakers’ globes have been featured in Hollywood movies and BBC productions as well as used in installations by established artists. The company has also had support from the Royal Geographic Society and was able to host their first ever globe exhibition in 2012. To see more images of the daily life at the Bellerby & Co. studio, visit the company’s Instagram or their blog. (via My Modern Met)
Earlier this month, photographer Vincent Laforet spent two hours in a helicopter at 6,000 feet above London to capture these surprisingly futuristic aerial views of the sprawling metropolis. The photographer’s approach to image processing and perspective creates electrified cityscapes that look like something right out of a scene from Tron or Blade Runner. But perhaps the most significant aspect of the shots is the attention to color and light. Laforet discusses this a bit on Storehouse:
Big Ben is a wonderful example of the different types of lights and their color temperatures due to the older yellow (sodium vapor) and the green (fluorescent) mixed in with magenta (fluorescent) and white daylight balanced LED lights. I find this to be one of the most fascinating aspects of this AIR project: had we shot it just a few years ago, you’d have see much more monochromatic (mostly yellow) lighting throughout the cities … It would simply not be the same and not nearly as visually appealing.
This new series of London photos is part of an ongoing project and soon-to-be book by called Air, featuring similar aerial photos of Las Vegas, Los Angeles, New York, and San Francisco. Laforet will continue to travel around Europe over the next few weeks with stops in Paris and Berlin. You can see many more photos and read a detailed account of the London photoshoot on Storehouse. The entire Air Series in Europe is sponsored by G-Technology. (via Sploid)