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_iuliard
Iulia Radu
design and dev.
aubergedebellevie.fr
A simple, bilingual website from last year.@aubergedebellevie is a rustic guesthouse located in the Jura region of France. At its heart: generous hospitality shaped by three ideas: cuisine vivante, vins vibrants, draps blancs. Natural wine, vibrant dishes, and a host with unmistakable personality 🔥
The visual direction draws from the 80s and 90s cookbooks @faaaaaaaaaabian and I browsed through for inspiration: colorful, cozy, and a bit nostalgic.
Designed in collaboration with @actsofservice.xyz
Photos by @lucasmatichard
aubergedebellevie.fr
A simple, bilingual website from last year.@aubergedebellevie is a rustic guesthouse located in the Jura region of France. At its heart: generous hospitality shaped by three ideas: cuisine vivante, vins vibrants, draps blancs. Natural wine, vibrant dishes, and a host with unmistakable personality 🔥
The visual direction draws from the 80s and 90s cookbooks @faaaaaaaaaabian and I browsed through for inspiration: colorful, cozy, and a bit nostalgic.
Designed in collaboration with @actsofservice.xyz
Photos by @lucasmatichard
aubergedebellevie.fr
A simple, bilingual website from last year.@aubergedebellevie is a rustic guesthouse located in the Jura region of France. At its heart: generous hospitality shaped by three ideas: cuisine vivante, vins vibrants, draps blancs. Natural wine, vibrant dishes, and a host with unmistakable personality 🔥
The visual direction draws from the 80s and 90s cookbooks @faaaaaaaaaabian and I browsed through for inspiration: colorful, cozy, and a bit nostalgic.
Designed in collaboration with @actsofservice.xyz
Photos by @lucasmatichard
aubergedebellevie.fr
A simple, bilingual website from last year.@aubergedebellevie is a rustic guesthouse located in the Jura region of France. At its heart: generous hospitality shaped by three ideas: cuisine vivante, vins vibrants, draps blancs. Natural wine, vibrant dishes, and a host with unmistakable personality 🔥
The visual direction draws from the 80s and 90s cookbooks @faaaaaaaaaabian and I browsed through for inspiration: colorful, cozy, and a bit nostalgic.
Designed in collaboration with @actsofservice.xyz
Photos by @lucasmatichard
Countdown and landing page for @arturmpuga new EP release. Temporary website while we are working on the full launch 👀🔥
Countdown and landing page for @arturmpuga new EP release. Temporary website while we are working on the full launch 👀🔥
Countdown and landing page for @arturmpuga new EP release. Temporary website while we are working on the full launch 👀🔥
Photographic alternation and/or enhancement has always exposed the instability of seeing. Images are shaped not only by what is captured, but by the technologies, intentions, and cultural anxieties that act upon them.
In the 1980s, Gerhard Richter began his series of “Overpainted Photographs”, taking small, often banal snapshots and obscuring them with thick, expressive swaths of oil paint. The gesture was both violent and intimate: a refusal to let the photograph stand as pure documentation, and a reminder that images are always subject to interpretation, memory, and distortion.
In 2024 Ezra Miller @ezzzrrra published “Plastic pulse”, a book of self-taken photographs enhanced using AI. On his photographs an ambiguous Mylar film seems to both protect and cause them to chip and peel.
I cannot but admire the similarities between the two interventions: both expose photography as an unstable, nostalgic object. Richter’s work challenged modernist faith in photographic truth. Miller’s emerged in a post-photographic (post-everything really) condition where such faith has already collapsed.
Photographic alternation and/or enhancement has always exposed the instability of seeing. Images are shaped not only by what is captured, but by the technologies, intentions, and cultural anxieties that act upon them.
In the 1980s, Gerhard Richter began his series of “Overpainted Photographs”, taking small, often banal snapshots and obscuring them with thick, expressive swaths of oil paint. The gesture was both violent and intimate: a refusal to let the photograph stand as pure documentation, and a reminder that images are always subject to interpretation, memory, and distortion.
In 2024 Ezra Miller @ezzzrrra published “Plastic pulse”, a book of self-taken photographs enhanced using AI. On his photographs an ambiguous Mylar film seems to both protect and cause them to chip and peel.
I cannot but admire the similarities between the two interventions: both expose photography as an unstable, nostalgic object. Richter’s work challenged modernist faith in photographic truth. Miller’s emerged in a post-photographic (post-everything really) condition where such faith has already collapsed.
Photographic alternation and/or enhancement has always exposed the instability of seeing. Images are shaped not only by what is captured, but by the technologies, intentions, and cultural anxieties that act upon them.
In the 1980s, Gerhard Richter began his series of “Overpainted Photographs”, taking small, often banal snapshots and obscuring them with thick, expressive swaths of oil paint. The gesture was both violent and intimate: a refusal to let the photograph stand as pure documentation, and a reminder that images are always subject to interpretation, memory, and distortion.
In 2024 Ezra Miller @ezzzrrra published “Plastic pulse”, a book of self-taken photographs enhanced using AI. On his photographs an ambiguous Mylar film seems to both protect and cause them to chip and peel.
I cannot but admire the similarities between the two interventions: both expose photography as an unstable, nostalgic object. Richter’s work challenged modernist faith in photographic truth. Miller’s emerged in a post-photographic (post-everything really) condition where such faith has already collapsed.
Photographic alternation and/or enhancement has always exposed the instability of seeing. Images are shaped not only by what is captured, but by the technologies, intentions, and cultural anxieties that act upon them.
In the 1980s, Gerhard Richter began his series of “Overpainted Photographs”, taking small, often banal snapshots and obscuring them with thick, expressive swaths of oil paint. The gesture was both violent and intimate: a refusal to let the photograph stand as pure documentation, and a reminder that images are always subject to interpretation, memory, and distortion.
In 2024 Ezra Miller @ezzzrrra published “Plastic pulse”, a book of self-taken photographs enhanced using AI. On his photographs an ambiguous Mylar film seems to both protect and cause them to chip and peel.
I cannot but admire the similarities between the two interventions: both expose photography as an unstable, nostalgic object. Richter’s work challenged modernist faith in photographic truth. Miller’s emerged in a post-photographic (post-everything really) condition where such faith has already collapsed.
Photographic alternation and/or enhancement has always exposed the instability of seeing. Images are shaped not only by what is captured, but by the technologies, intentions, and cultural anxieties that act upon them.
In the 1980s, Gerhard Richter began his series of “Overpainted Photographs”, taking small, often banal snapshots and obscuring them with thick, expressive swaths of oil paint. The gesture was both violent and intimate: a refusal to let the photograph stand as pure documentation, and a reminder that images are always subject to interpretation, memory, and distortion.
In 2024 Ezra Miller @ezzzrrra published “Plastic pulse”, a book of self-taken photographs enhanced using AI. On his photographs an ambiguous Mylar film seems to both protect and cause them to chip and peel.
I cannot but admire the similarities between the two interventions: both expose photography as an unstable, nostalgic object. Richter’s work challenged modernist faith in photographic truth. Miller’s emerged in a post-photographic (post-everything really) condition where such faith has already collapsed.
Photographic alternation and/or enhancement has always exposed the instability of seeing. Images are shaped not only by what is captured, but by the technologies, intentions, and cultural anxieties that act upon them.
In the 1980s, Gerhard Richter began his series of “Overpainted Photographs”, taking small, often banal snapshots and obscuring them with thick, expressive swaths of oil paint. The gesture was both violent and intimate: a refusal to let the photograph stand as pure documentation, and a reminder that images are always subject to interpretation, memory, and distortion.
In 2024 Ezra Miller @ezzzrrra published “Plastic pulse”, a book of self-taken photographs enhanced using AI. On his photographs an ambiguous Mylar film seems to both protect and cause them to chip and peel.
I cannot but admire the similarities between the two interventions: both expose photography as an unstable, nostalgic object. Richter’s work challenged modernist faith in photographic truth. Miller’s emerged in a post-photographic (post-everything really) condition where such faith has already collapsed.
Photographic alternation and/or enhancement has always exposed the instability of seeing. Images are shaped not only by what is captured, but by the technologies, intentions, and cultural anxieties that act upon them.
In the 1980s, Gerhard Richter began his series of “Overpainted Photographs”, taking small, often banal snapshots and obscuring them with thick, expressive swaths of oil paint. The gesture was both violent and intimate: a refusal to let the photograph stand as pure documentation, and a reminder that images are always subject to interpretation, memory, and distortion.
In 2024 Ezra Miller @ezzzrrra published “Plastic pulse”, a book of self-taken photographs enhanced using AI. On his photographs an ambiguous Mylar film seems to both protect and cause them to chip and peel.
I cannot but admire the similarities between the two interventions: both expose photography as an unstable, nostalgic object. Richter’s work challenged modernist faith in photographic truth. Miller’s emerged in a post-photographic (post-everything really) condition where such faith has already collapsed.
Photographic alternation and/or enhancement has always exposed the instability of seeing. Images are shaped not only by what is captured, but by the technologies, intentions, and cultural anxieties that act upon them.
In the 1980s, Gerhard Richter began his series of “Overpainted Photographs”, taking small, often banal snapshots and obscuring them with thick, expressive swaths of oil paint. The gesture was both violent and intimate: a refusal to let the photograph stand as pure documentation, and a reminder that images are always subject to interpretation, memory, and distortion.
In 2024 Ezra Miller @ezzzrrra published “Plastic pulse”, a book of self-taken photographs enhanced using AI. On his photographs an ambiguous Mylar film seems to both protect and cause them to chip and peel.
I cannot but admire the similarities between the two interventions: both expose photography as an unstable, nostalgic object. Richter’s work challenged modernist faith in photographic truth. Miller’s emerged in a post-photographic (post-everything really) condition where such faith has already collapsed.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
In 2025 l got myself into the habit of always having a blooming flower on my working desk or around me. A sweet indulgence that kept me motivated through a crazy year and that always reminds me to be kind to myself.
judithandmark.com
A one-page microsite dedicated to Berlin-based architect Mark Randel’s side project. Taking place in Kythera, Greece, the project stemmed from Mark and his partner Judith’s decision to restore a traditional fisherman’s house on the island, transforming it into their vacation home.
Their sensitive approach to renovation, grounded in respect for place earned the admiration of the local community. This genuine connection inspired them to consider expanding the studio’s presence in Greece, engaging with people interested in making Greece part of their lives. The site functions as a minimal, editorial-style entry that documents the evolving state of Judith and Mark’s house in Kythera, while extending into a broader reflection on life in Greece, conveying a sense of place, continuity, and quiet aspiration.
All photos and videos are taken by Judith and Mark and are accompanied by geolocation data including coordinates, place names, time of capture, visibility, temperature, and wind conditions, subtly documenting the natural context and slow shifting rhythms of island life.
Thank you @judith_and_mark for their trust on this and to @fbngrtmnn for his support.
judithandmark.com
A one-page microsite dedicated to Berlin-based architect Mark Randel’s side project. Taking place in Kythera, Greece, the project stemmed from Mark and his partner Judith’s decision to restore a traditional fisherman’s house on the island, transforming it into their vacation home.
Their sensitive approach to renovation, grounded in respect for place earned the admiration of the local community. This genuine connection inspired them to consider expanding the studio’s presence in Greece, engaging with people interested in making Greece part of their lives. The site functions as a minimal, editorial-style entry that documents the evolving state of Judith and Mark’s house in Kythera, while extending into a broader reflection on life in Greece, conveying a sense of place, continuity, and quiet aspiration.
All photos and videos are taken by Judith and Mark and are accompanied by geolocation data including coordinates, place names, time of capture, visibility, temperature, and wind conditions, subtly documenting the natural context and slow shifting rhythms of island life.
Thank you @judith_and_mark for their trust on this and to @fbngrtmnn for his support.
judithandmark.com
A one-page microsite dedicated to Berlin-based architect Mark Randel’s side project. Taking place in Kythera, Greece, the project stemmed from Mark and his partner Judith’s decision to restore a traditional fisherman’s house on the island, transforming it into their vacation home.
Their sensitive approach to renovation, grounded in respect for place earned the admiration of the local community. This genuine connection inspired them to consider expanding the studio’s presence in Greece, engaging with people interested in making Greece part of their lives. The site functions as a minimal, editorial-style entry that documents the evolving state of Judith and Mark’s house in Kythera, while extending into a broader reflection on life in Greece, conveying a sense of place, continuity, and quiet aspiration.
All photos and videos are taken by Judith and Mark and are accompanied by geolocation data including coordinates, place names, time of capture, visibility, temperature, and wind conditions, subtly documenting the natural context and slow shifting rhythms of island life.
Thank you @judith_and_mark for their trust on this and to @fbngrtmnn for his support.
judithandmark.com
A one-page microsite dedicated to Berlin-based architect Mark Randel’s side project. Taking place in Kythera, Greece, the project stemmed from Mark and his partner Judith’s decision to restore a traditional fisherman’s house on the island, transforming it into their vacation home.
Their sensitive approach to renovation, grounded in respect for place earned the admiration of the local community. This genuine connection inspired them to consider expanding the studio’s presence in Greece, engaging with people interested in making Greece part of their lives. The site functions as a minimal, editorial-style entry that documents the evolving state of Judith and Mark’s house in Kythera, while extending into a broader reflection on life in Greece, conveying a sense of place, continuity, and quiet aspiration.
All photos and videos are taken by Judith and Mark and are accompanied by geolocation data including coordinates, place names, time of capture, visibility, temperature, and wind conditions, subtly documenting the natural context and slow shifting rhythms of island life.
Thank you @judith_and_mark for their trust on this and to @fbngrtmnn for his support.
judithandmark.com
A one-page microsite dedicated to Berlin-based architect Mark Randel’s side project. Taking place in Kythera, Greece, the project stemmed from Mark and his partner Judith’s decision to restore a traditional fisherman’s house on the island, transforming it into their vacation home.
Their sensitive approach to renovation, grounded in respect for place earned the admiration of the local community. This genuine connection inspired them to consider expanding the studio’s presence in Greece, engaging with people interested in making Greece part of their lives. The site functions as a minimal, editorial-style entry that documents the evolving state of Judith and Mark’s house in Kythera, while extending into a broader reflection on life in Greece, conveying a sense of place, continuity, and quiet aspiration.
All photos and videos are taken by Judith and Mark and are accompanied by geolocation data including coordinates, place names, time of capture, visibility, temperature, and wind conditions, subtly documenting the natural context and slow shifting rhythms of island life.
Thank you @judith_and_mark for their trust on this and to @fbngrtmnn for his support.
judithandmark.com
A one-page microsite dedicated to Berlin-based architect Mark Randel’s side project. Taking place in Kythera, Greece, the project stemmed from Mark and his partner Judith’s decision to restore a traditional fisherman’s house on the island, transforming it into their vacation home.
Their sensitive approach to renovation, grounded in respect for place earned the admiration of the local community. This genuine connection inspired them to consider expanding the studio’s presence in Greece, engaging with people interested in making Greece part of their lives. The site functions as a minimal, editorial-style entry that documents the evolving state of Judith and Mark’s house in Kythera, while extending into a broader reflection on life in Greece, conveying a sense of place, continuity, and quiet aspiration.
All photos and videos are taken by Judith and Mark and are accompanied by geolocation data including coordinates, place names, time of capture, visibility, temperature, and wind conditions, subtly documenting the natural context and slow shifting rhythms of island life.
Thank you @judith_and_mark for their trust on this and to @fbngrtmnn for his support.
Recently been thinking about the use of flowers in art. A small collection that fits today’s global context:
1. Pina Bausch - Nelken, ph. by Maarten Vanden Abeele, 1983
2. Francis Bacon - Landscape with Pope/Dictator, 1946
3. Cy Twombly - Blooming 2001-2008 detail
4. Joseph Beuys at documenta 5 with a rose (Rose für Direkte Demokratie), ph. Mario Gastinger, 1972
5. Louise Bourgeois - Life Flower I, conceived in 1960 and cast in 2010
Recently been thinking about the use of flowers in art. A small collection that fits today’s global context:
1. Pina Bausch - Nelken, ph. by Maarten Vanden Abeele, 1983
2. Francis Bacon - Landscape with Pope/Dictator, 1946
3. Cy Twombly - Blooming 2001-2008 detail
4. Joseph Beuys at documenta 5 with a rose (Rose für Direkte Demokratie), ph. Mario Gastinger, 1972
5. Louise Bourgeois - Life Flower I, conceived in 1960 and cast in 2010
Recently been thinking about the use of flowers in art. A small collection that fits today’s global context:
1. Pina Bausch - Nelken, ph. by Maarten Vanden Abeele, 1983
2. Francis Bacon - Landscape with Pope/Dictator, 1946
3. Cy Twombly - Blooming 2001-2008 detail
4. Joseph Beuys at documenta 5 with a rose (Rose für Direkte Demokratie), ph. Mario Gastinger, 1972
5. Louise Bourgeois - Life Flower I, conceived in 1960 and cast in 2010
Recently been thinking about the use of flowers in art. A small collection that fits today’s global context:
1. Pina Bausch - Nelken, ph. by Maarten Vanden Abeele, 1983
2. Francis Bacon - Landscape with Pope/Dictator, 1946
3. Cy Twombly - Blooming 2001-2008 detail
4. Joseph Beuys at documenta 5 with a rose (Rose für Direkte Demokratie), ph. Mario Gastinger, 1972
5. Louise Bourgeois - Life Flower I, conceived in 1960 and cast in 2010
Recently been thinking about the use of flowers in art. A small collection that fits today’s global context:
1. Pina Bausch - Nelken, ph. by Maarten Vanden Abeele, 1983
2. Francis Bacon - Landscape with Pope/Dictator, 1946
3. Cy Twombly - Blooming 2001-2008 detail
4. Joseph Beuys at documenta 5 with a rose (Rose für Direkte Demokratie), ph. Mario Gastinger, 1972
5. Louise Bourgeois - Life Flower I, conceived in 1960 and cast in 2010
Excited to finally share the new website of @transverseorientation
We took creative cues from the utilitarian GUIs of 3D modelling software like Blender and Cinema 4D to build a functional navigation system. No fancy transitions or glossy UI to compete with the content, just a focused, minimal interface.
Web Development @kamomomomomomo
Creative direction and design @_iuliard
nicocervello.com
Excited to finally share the new website of @transverseorientation
We took creative cues from the utilitarian GUIs of 3D modelling software like Blender and Cinema 4D to build a functional navigation system. No fancy transitions or glossy UI to compete with the content, just a focused, minimal interface.
Web Development @kamomomomomomo
Creative direction and design @_iuliard
nicocervello.com
Excited to finally share the new website of @transverseorientation
We took creative cues from the utilitarian GUIs of 3D modelling software like Blender and Cinema 4D to build a functional navigation system. No fancy transitions or glossy UI to compete with the content, just a focused, minimal interface.
Web Development @kamomomomomomo
Creative direction and design @_iuliard
nicocervello.com
Excited to finally share the new website of @transverseorientation
We took creative cues from the utilitarian GUIs of 3D modelling software like Blender and Cinema 4D to build a functional navigation system. No fancy transitions or glossy UI to compete with the content, just a focused, minimal interface.
Web Development @kamomomomomomo
Creative direction and design @_iuliard
nicocervello.com
Excited to finally share the new website of @transverseorientation
We took creative cues from the utilitarian GUIs of 3D modelling software like Blender and Cinema 4D to build a functional navigation system. No fancy transitions or glossy UI to compete with the content, just a focused, minimal interface.
Web Development @kamomomomomomo
Creative direction and design @_iuliard
nicocervello.com
⏳ @kamomomomomomo and I have been working on something for @transverseorientation ⏳
⏳ @kamomomomomomo and I have been working on something for @transverseorientation ⏳
Injuries.
1. Nicola Samorì - Irene scopre l’informale, 2012
2. William S. Burroughs photographed by Brion Gysin in Paris, Danger Series October 1959
3. Raf Simons Redux 2005
4. Yohji Yamamoto pour homme S/S2026
5. Gina Pane - Azione Sentimentale, 9 novembre 1973
6. Gene Hackman in Francis Ford Coppola’s The Conversation, 1974
Injuries.
1. Nicola Samorì - Irene scopre l’informale, 2012
2. William S. Burroughs photographed by Brion Gysin in Paris, Danger Series October 1959
3. Raf Simons Redux 2005
4. Yohji Yamamoto pour homme S/S2026
5. Gina Pane - Azione Sentimentale, 9 novembre 1973
6. Gene Hackman in Francis Ford Coppola’s The Conversation, 1974
Injuries.
1. Nicola Samorì - Irene scopre l’informale, 2012
2. William S. Burroughs photographed by Brion Gysin in Paris, Danger Series October 1959
3. Raf Simons Redux 2005
4. Yohji Yamamoto pour homme S/S2026
5. Gina Pane - Azione Sentimentale, 9 novembre 1973
6. Gene Hackman in Francis Ford Coppola’s The Conversation, 1974
Injuries.
1. Nicola Samorì - Irene scopre l’informale, 2012
2. William S. Burroughs photographed by Brion Gysin in Paris, Danger Series October 1959
3. Raf Simons Redux 2005
4. Yohji Yamamoto pour homme S/S2026
5. Gina Pane - Azione Sentimentale, 9 novembre 1973
6. Gene Hackman in Francis Ford Coppola’s The Conversation, 1974
Injuries.
1. Nicola Samorì - Irene scopre l’informale, 2012
2. William S. Burroughs photographed by Brion Gysin in Paris, Danger Series October 1959
3. Raf Simons Redux 2005
4. Yohji Yamamoto pour homme S/S2026
5. Gina Pane - Azione Sentimentale, 9 novembre 1973
6. Gene Hackman in Francis Ford Coppola’s The Conversation, 1974
Injuries.
1. Nicola Samorì - Irene scopre l’informale, 2012
2. William S. Burroughs photographed by Brion Gysin in Paris, Danger Series October 1959
3. Raf Simons Redux 2005
4. Yohji Yamamoto pour homme S/S2026
5. Gina Pane - Azione Sentimentale, 9 novembre 1973
6. Gene Hackman in Francis Ford Coppola’s The Conversation, 1974
Story Save - Best free tool for saving Stories, Reels, Photos, Videos, Highlights, IGTV to your phone.
Story-save.com is an intuitive online tool that enables users to download and save a variety of content, including stories, photos, videos, and IGTV materials, directly from Instagram. With Story-Save, you can not only easily download diverse content from Instagram but also view it at your convenience, even without internet access. This tool is perfect for those moments when you come across something interesting on Instagram and want to save it for later viewing. Use Story-Save to ensure you don't miss the chance to take your favorite Instagram moments with you!
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