Towers of cheese, squares of beetroot, florets of broccoli and other edible items are laid out in a precise grid to create Still Life, which was designed by PJADAD as branding for Atelier Food, a Stockholm-based restaurant that runs workshops involving chefs, artists, designers, scientists and business developers.

PJADAD, which stands for Petter Johansson Art Direction and Design, comprises art director Johansson, graphic designer Oskar Svensson and copywriter Anton Wigbrand.

We recently reported on prototypes of 3D-printed hamburgers and a set of rolling pins that make patterned plates from dough - see all food design.

Photography is by Henrik Petersson.

Here's some more information from Petter Johansson:

Innovation through food

Atelier Food is a project that seeks new solutions and innovation through food. The project is initiated by international top chefs such as Stefan Eriksson and leading people from branches such as communication, science, culture and business.

Food is an important part of many future challenges. Atelier Food links food with sustainability, energy, culture, urban development and transportation. The project also link chefs with artists, designers, scientists and business developers. Together they seek global solutions and innovation through cooking, food labs and discussions. Atelier Food is represented by its on-going workshops and as a restaurant based in the heart of Stockholm, Sweden.

Creativity through food

The Atelier Food still life is built on a grid. The still life represents the work of Atelier Food and the connection between food and society. It links the playfulness and creativity within the project with the ambitious goals and long-term challenges. In the spirit of the whole Atelier Food project it is also a creative co-operation between a chef, one art director and one photographer. Petter Johansson Art Direction And Design (PJADAD) is a small experimental studio working in the fields of communication, strategy and design. The studio employs one art director, one copywriter and one graphic designer. We like to see our customers as partners and strive to build, develop or maintain their brands.

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The 842-metre-long bridge connects Abu Dhabi Island with the mainland and comprises a sequence of concrete waves that curve up and down from the water to reach a height of 64 metres. A four-lane highway runs across and the two road decks are cantilevered from the sides of the structure.

Zaha Hadid Architects completed the project in 2010 - read more in our earlier story.

See more photography by Hufton + Crow on Dezeen, or on the photographers' website.

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photographed by Hufton + Crow appeared first on Dezeen.

These fictional views of imaginary architecture and landscapes are photographic collages produced by American CGI artist Jim Kazanjian.

Above: untitled (tomb), 2012
Top: untitled (temple), 2012

Kazanjian never takes any photographs himself, but instead combines as many as 50 images found on the internet to create each collage in the series.

Above: untitled (chateau), 2011

"My method of construction has an improvisational and random quality to it, since it is largely driven by the source material I have available," says Kazanjian. "I think of the work as a type of mutation which can haphazardly spawn in numerous and unpredictable directions."

Above: untitled (folly), 2010

His latest two images (top) are referred to as "temple" and "tomb", and show a fortification that appears to be sat on a beach and an entanglement of scaffolding structures engulfed beneath a layer of snow and ice.

Above: untitled (low tide), 2009

The artist cites the horror novels of early twentieth century writers H.P. Lovecraft and Algernon Blackwood as inspiration. He explains: "I am intrigued with the narrative archetypes these writers utilise to transform the commonplace into something sinister and foreboding."

Above: untitled (house), 2006

Jim Kazanjian started the series in 2006. His first image featured a dense cluster of buildings balanced above a crumbling pier (above), while others completed since then include a crumbling house being struck by lightning (below) and a castle-like building atop a waterfall.

Above: untitled (exterior), 2010

Other manipulated photography projects completed recently include images of houses that appear to be sailing through the sky and collaged landscapes that form complete circles. See more manipulated photography on Dezeen.

Above: untitled (backyard), 2011

Here's a statement from Kazanjian:

My images are digitally manipulated composites built from photographs I find online. The technique I use could be considered "hyper-collage". I cobble together pieces from photos I find interesting and feed them into Photoshop. Through a palimpsest-like layering process of adding and subtracting, I gradually blend the various parts together. I am basically manipulating and assembling a disparate array of multiple photographic elements (sometimes more than 50) to produce a single homogenized image. I do not use a camera at any stage in the process.

Above: untitled (outpost), 2008

My method of construction has an improvisational and random quality to it, since it is largely driven by the source material I have available. I wade through my archive constantly and search for interesting combinations and relationships. Each new piece I bring to the composition informs the image's potential direction. It is an iterative and organic process where the end result is many times removed from its origin. I think of the work as a type of mutation which can haphazardly spawn in numerous and unpredictable directions.

Above: untitled (fortification), 2008

I've chosen photography as a medium because of the cultural misunderstanding that it has a sort of built-in objectivity. This allows me to set up a visual tension within the work, to make it resonate and lure the viewer further inside. My current series is inspired by the classic horror literature of H.P. Lovecraft, Algernon Blackwood and similar authors. I am intrigued with the narrative archetypes these writers utilize to transform the commonplace into something sinister and foreboding. In my work, I prefer to use these devices as a means to generate entry points for the viewer. I'm interested in occupying a space where the mundane intersects the strange, and the familiar becomes alien. In a sense, I am attempting to render the sublime.

Above: untitled (structure), 2007

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by Jim Kazanjian appeared first on Dezeen.

House O is one of the architect's oldest projects and was designed as a weekend retreat in Chiba, before being destroyed during the 2011 earthquake and tsunami. House N was completed more recently and is a residence with three layers of walls and ceilings.

The architect's largest projects include the Children's Center for Psychiatric Rehabilitation, a treatment center for mentally disturbed children, and the Musashino Art University Library with walls made of timber shelves.

Sou Fujimoto also recently completed House NA, a residence with hardly any walls, and was part of the team that won a Golden Lion at the Venice Architecture Biennale for designing housing for those made homeless by the 2011 disaster. See more architecture by Sou Fujimoto.

All photography is by Edmund Sumner.

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photographed by Edmund Sumner appeared first on Dezeen.

The Shard was officially inaugurated in July 2012, but today marks the first time that the public can enter the 72-storey building and ascend all the way to the uppermost floor.

From this vantage point, 244 metres above ground, visitors are exposed to the elements and are faced with panoramic views stretching for over 40 miles.

Renzo Piano designed the mixed-use skyscraper in 2000 and it became the tallest building in Europe in 2011, before being overtaken at the end of 2012 by Moscow tower Mercury City.

Piano described the building as "a vertical city" in an interview with Dezeen editor-in-chief Marcus Fairs before construction began, but explained that he was never concerned with breaking records. "Towers usually have a very bad reputation, and normally a deserved reputation, because they are normally a symbol of arrogance and power," he said. "All this is about doing a building that is not arrogant."

Since its construction, architecture critic Rowan Moore has labelled the building a "serious failure of planning". Meanwhile, an urban explorer posted pictures online of himself climbing its walls and UNESCO were prompted to reconsider the status of the nearby Tower of London and Palace of Westminster as recognised sites of historical significance.

Photographer Nick Guttridge shot the skyscraper from several points around London, including from the penthouse at the recently completed Neo Bankside and from Canary Wharf. For details of how to purchase limited edition prints, send an email to mail@nickguttridge.com.

See more stories about The Shard »

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photographed by Nick Guttridge appeared first on Dezeen.