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Friday Favourites

We’ll begin this week’s Friday Favourites with soemthing a little hypnotic – the wavegrower project, by French animator Frédéric Vayssouze-Faure, whose work combines “minimalism and multitude to create dynamic artworks with more than one level of reading, the first being that every cell constituting them has its own simple periodic motion, meaning regularly looping by spinning or twisting or stretching or balancing or revolving or swinging or shaking or beating or vibrating, in a word : oscillating.” Here’s another one for you to get lost in, and you can see more on his tumblr (we found it on Colossal).


Cuba: This Moment Exactly So

From Georgi this week: “I came across this essay on Medium about a Lorne Resnick, a photographer, and his experience of shooting in Cuba. It has some lovely insights into the city and some really beautiful photos. I particularly love the story about the first photo where Resnick visited a lighthouse (and climbed 144 stairs) over 30 times over the course of five years in order to get the perfect shot.” Now that is dedication.





All photos by Lorne Resnick.

Pirelli 2018

While we’re on the subject of photography, this week Creative Review has shared a ‘behind the scenes’ story from the 2018 Pirelli calendar shoot. Shot by Tim Walker, and with an Alice in Wonderland theme, next year’s calendar features an all-black cast of 17 people from the world of fashion, music, cinema and “the underground universe”, and you can see more from the shoot in the short film below:

Here’s Tim Walker in action on the RuPaul shoot:


Keiichi Tahara

To commemorate the recent death of Japanese photographer Keiichi Tahara, Taschen has released a new book, “Architecture Fin de Siècle”, which showcases his incredible photography of European Art Nouveau buildings. Here a few of his photos, and you can find out more about the book and Tahara’s work on the Taschen website.




Bonobo – No Reason

And finally this week, a music video with a difference!

But what’s different about it, I hear you cry? Well, director Oscar Hudson decided not to use CGI and shot the entire thing as a single tracking shot using a very small camera on a very big set. Very cleverly done.

You can find out more at No Film School and in the behind the scenes film below:


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