Food trucks and pop-up stores are proliferating all over the world, but this is the first time we have heard of a mobile lighting showroom. Created by British designer Lee Broom, the Salone del Automobile is located in a moving van that stops in key urban design districts between London and Milan. From the outside, the vehicle looks like an ordinary delivery van, but when the back door is open, it looks like an elegant Italian palazzo with Corinthian columns and decorative stucco details. The interior is painted a subtle gray with an illuminated floor for effect. It provides the perfect background for Broom’s new lighting collection Optical. The idea of a traveling showroom has many appealing, cost-effective advantages. It literally places itself directly in the path of target customers, can quickly relocate to other promising geographic markets, and limits security risks by offering the ability to park the “shop” in a garage.
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Palmitas, about an hour-and half drive from Mexico City, was like so many other poor, nondescript Mexican villages. The community of about 2,000 residents had suffered its share of youth violence and low employment when the Mexican government decided to spruce things up a bit by hiring local artists to paint the entire town in a rainbow of colorful murals. The village brought in a group of prominent graffiti artists called “Germen Crew,” and put them to work with buckets of paint and brushes. The crew repainted 209 houses covering a 20,000 square meter area. The macro mural project took five months to paint, and when it was done, Palmitas stood out for miles around. The cheerful colors had a positive effect on the community, helping to reduce youth violence, create jobs, and turn the hillside village into a scenic attraction.
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More than 3,000 mourners came to the rural Japanese village of Kinokawa last weekend to pay their final respects to Tama the super stationmaster of Kishi Station, the last stop on the Wakayama Electric Railway line. Tama was elevated from stray cat to stationmaster in 2007, at a time when the regional rail line was $4.7 million in the red, forcing the layoff of all employees at Kishi Station and leaving the stop unmanned. Reluctant to evict the charming calico cat that hung around the station, the railway’s president announced that he was appointing Tama the super stationmaster of Kishi Station — a position that included free housing in the ticket booth, her own litter box, and an annual salary paid in cat food. For her official duties of meeting and greeting passengers, Tama was outfitted in a tiny custom-made stationmaster cap and cape.
What started out as a playful marketing ploy to raise awareness of the railway’s plight quickly turned into a media sensation with tourists from across Japan and around the world flocking to the village to see Tama at work. Train ridership increased significantly, and Kishi Station itself became a tourist attraction.
The railway’s management capitalized on Tama’s appeal and developed an extensive line of souvenir items bearing a cartoon likeness of Tama, including T-shirts, coffee mugs, stuffed animals, and even a full set of dining room furniture featuring carved silhouettes of cats. In 2009, Wakayama Electric Railway rolled out a train car decorated with cartoon images of Tama, and redesigned the exterior architecture of Kishi station to resemble a cat’s face.
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By the time that you look at this photograph of a paper bridge, you won’t be able to see it in real life anymore. As is often the case with environmental art, the paper bridge that spanned a mountain stream in the UK’s rural Lake District was meant to be a temporary installation. A sharp contrast to the natural landscape, the poppy red paper bridge was so startling and surreal to see that people found themselves looking anew at their surroundings and consciously thinking about the wondrous view.
Conceived by British environmental artist Steve Messam, the paper bridge is a remarkable feat of art and engineering, made without glue, nails, screws, or structural support out of 22,000 sheets of red paper, provided by one of the UK’s oldest paper manufacturers, James Cropper. The structure itself was designed by Peter Foskett who combined the laws of gravity and the pressure between the sheets of paper to build a form strong enough to bear the weight of human and four-legged hikers. Commissioned by the UK’s Lakes Culture for its Lakes Ignite project, the bridge is one of a series of temporary installations to appear in the Lake District National Park through 2015. The paper bridge remained in place for ten days in May, and was then dismantled to be recycled back into paper.
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The Moscow Metro is getting a wayfinding facelift, with a new custom font, pictograms, and maps. Created exclusively for the Moscow Department of Transport, the overall program was developed and directed by UK/US-based City ID, with the typeface and pictograms designed by Henrik Kubel and Scott Williams of the London-based studio, A2/SW/HK, with UK designer Margaret Calvert as type and pictogram consultant. The Cyrillic script was designed in collaboration with Ilya Ruderman.
Replacing a hodgepodge of fonts and styles implemented over the decades, the new signage is standardized around a custom font called Moscow Sans, which has letterforms for both the English and Russian Cyrillic alphabets. Accompanying Moscow Sans is a full set of universally recognizable pictograms.
Simple and modern, the new signage brings uniformity and clarity to the wayfinding system. Equally important, the signage doesn’t clash with the amazing interior architecture of stations built in the 1930s by some of the USSR’s leading architects and artists. Referred to as “Stalin’s people’s palaces,” the early subway stations are worthy of being museums, with art that includes bas-reliefs, friezes, bronze and marble statues, stained glass windows and lots of mosaics. The styles of the stations range from Baroque to Classicism to Art Deco. The new signage fits right in. The program is being implemented in all Moscow stations during 2015.
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