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IRZ news, analysis and ideas about Creative.
Teddy Blanks does not begin a film title with a typeface. For Barbie, Werwulf or Nickel Boys, he first finds a real artifact from the film’s world, then reconstructs what is missing.
Amsterdam's OBA Next Lab was built to be dismantled and moved. Its 24 modules and dry connections prepare that second life, while Circl shows what the real test will involve.
For Alina Derya Yakaboylu, intuition follows observation, interviews and collected traces. That order helps keep a concept from being pasted onto a project afterwards.
A former lead watch designer, Nosheen Iqbal pulls thread and beads through laser-cut birch, turning Islamic geometry and Pakistani textile traditions into reliefs that forgive no wrong stitch.
A latex scale, a rubberwood cabinet, a bench wearing synthetic skin: with The Devil's Milk, Shahar Livne turns three centuries of rubber's industrial history into furniture you can touch.
BikeBox combines a boundary wall, planter and secure bicycle store. It becomes more interesting when read as a piece of domestic architecture rather than a disguised shed.
SLYBOX and Bon Drawer use nearly the same ingredients but put the guiding function in different places. Two prototypes make a useful question visible: what does a drawer actually need to keep?
To reassure regulators and residents at the same time, Open Point built its identity around the chisel and carved stone. The choice says a lot about trust in civic software.
In Folded Memories, Estefania Ajcip builds her childhood memories in three dimensions: cardboard maquettes, carved foam, birch plywood and small LEDs. The frame stops closing the scene.
Grace Baldwin is building a monumental junk drawer filled with fake objects worn like real ones. The series grows a few objects a day, with an inventory partly crowdsourced from her audience.