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The ephemeral installation at the entrance of the exhibition visualised the origins of Marcin’s work, his family history and the childhood memory of being surrounded by abandoned greenhouses. The installation lead to the main space, inviting visitors to pass through the ephemerality of nature. Photography by DSL Studio.

Making his Milan debut with a bang, Unnatural Practice was a showcase of Marcin Rusak’s most recent works together with archival and “in progress” pieces that inform the studio’s ongoing research. Expertly curated by Federica Sala, this solo exhibition took place at Ordet during Milan Design Week 2021 earlier this month.

“As the world came to a halt, the dynamic process of research and creation turned into restrained growth — a dense fermented environment where the end result is no longer an obstacle and possibilities become inexhaustible,” says Rusak.

The exhibition brought visitors into a still environment encouraging them to investigate the many layers of the studio’s work — an opportunity to see and understand the suspended substance of Rusak’s practice as a living catalogue of the decaying, ephemeral and preserved. In his work, elements such as flowers, leaves and plants are observed, analysed, reconstructed and transformed into raw material to be subsequently redesigned.

Unnatural Practice presented for the first time the deep sense of Rusak’s ongoing research and development phases that characterize the designer’s collections. From the Proustian sublimation of decay in the very first collection of Perishable Vases, via his Flora series (see more here and here), to the most recent collections of Protoplasting Nature, in which vegetable elements are petrified in metal or resin, opening a new path back to the formal Art Nouveau we know and advancing a new design era where natural elements can grow into beautiful functional objects.

Marcin Rusak collects and dissects, crystallises and destroys natural elements, giving them new life or transforming them into effigies of themselves. This process of temporal crystallization might seem an aesthetic path but it is, in reality, an elegy of the intrinsic movement of life and nature, whose elements — though suspended in their decay — continue to deteriorate with a slow trajectory that teaches us the passage of time and the value of its mutation.

Related: Marcin Rusak’s Botanical Lighting Objects are Made with Real Leaves Encased in Zinc.

The exploration continued into the world of dynamic transmutations of nature, investigating the interaction between material and subject, science and art. From the ancient Egyptians’ abstracted lotus to the iconic designs of William Morris, it is apparent that the appeal of floral imagery is timeless. Flora material iterates upon this human impulse to incorporate the natural world in decoration by preserving, rather than representing decorative forms. The investigation into flower waste and the process of ageing sparked an idea of the material that evolves over time.

Protoplasting Nature is a family of furnishings composed of waste metal and botanical material. The creative act that implements the project focuses on complementary concepts of evolution and involution in time, making opposing processes evident — of life and death, renewal and decay — that intervene during an experiment of co-creation between vital and inert matter, the action of man and that of nature. The load-bearing structure of the pieces in this series is a reticular framework in steel wire, shaped by hand, a curved tangle of parts connected by a series of welding points. As a whole, it reflects the formal characteristics of furnishings in the style of the 17th century.

The exhibition saw the premiere of the Unnatural Practice film by Aga Beaupré, which focused on Marcin’s poetic research process.

Unnatural Practice began with an ephemeral installation at the entrance that visualised the origins of Marcin’s work, his family history and the childhood memory of being surrounded by abandoned greenhouses. The installation lead to the main space of the exhibition, inviting visitors to pass through the ephemerality of nature. Inside, a collection of perishable works explored nature’s perpetual cycles of renewal and degradation, showcasing the process of decay of the artworks as much as its final results.

Marcin invited his friend and collaborator, Barnabe Fillion, a French fragrance expert and perfumer, to create scents that would help describe his work. These were placed within the exhibition to complete the visual experience and enhance the “living” element of the pieces. Marcin and Barnabe focused on three main projects for the studio — Flora, Perishable Series and Protoplasting Nature — and approached the scents as if they were physical objects made of compositions of materials and processes.

The exhibition also saw the premiere of the Unnatural Practice film, written and directed by Aga Beaupré, which focused on the artist’s poetic research process. Watch it below.

Related: Flora Noir Furniture Collection by Marcin Rusak.

| The article Finding Beauty in Decay: Unnatural Practice by Marcin Rusak. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/marcin-rusak-unnatural-practice-federica-sala-milan-design-week-2021/

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Capturing the vibrancy of Shanghai’s Xintiandi area, LOOKNOW’s latest flagship store by Sò Studio invites customers into the creative process through a menagerie of art, objects and texture. Simulating an artist’s studio space and residence, the 240-square-metre interior takes us on a visual escapade through an imagined creative abode.

Located in the heart of the city, Xin Tian Di seamlessly blends colonial-era Shikumen housing with the contemporary architecture of the modern megacity. In keeping with this tradition, the designers retained some original fixtures alongside the new. Historical traces — antique doors kept from the old house and random rocks picked from the quarry — serve both aesthetic and functional purposes, as the design becomes a continuation of Shanghai’s urban history.

Related: PEU à PEU Sports Store in Hangzhou, China by Sò Studio.

With flexibility in mind, Sò Studio organised the store into three distinct areas — exhibition, major display and accessories. Defined by a butter hued framing, the exhibition area is a striking focal point. A place for pop-ups, shows and installations, it also acts as a transitional piece delineating each of the corresponding zones.

Exposed brick walls and structural steel were kept as other features were repurposed; abandoned pipes were rearranged into racks for handbags and blue paint was applied unevenly, adding to the current peeling appearance. The designers looked at balancing these existing industrial elements with sculptural forms, colourful accents and surprising finishes.

Related: Back to Nature: Restaurant Lunar in Shanghai by Sò Studio.

The biggest structure in the store may be the most surprising. Located in the centre of the display area the fitting room is draped in fabric softening the hard angles. As circulation flows on all sides plush boyfriend chairs in primary red and blue sit alongside — perfect for lounging.

In the accessories area, abnormal and exaggerated cabinets dwarf the volume. A standing lamp that looks like a launchpad, mottled cabinetry and a custom carpet add cool flourishes to LOOKNOW’’s “it” store cred. Enclosed between walls a living room immerses customers further into the world of the artist. With a sofa, carpet, clothes racks and wood the intimate room feels comfortably lived in.

This magical melange of spaces and objects blur the boundaries between the real and imagined as Sò Studio rewrites used materials into LOOKNOW’s contemporary narrative.

| The article Artist in Residence: LOOKNOW Flagship Store by Sò Studio. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/so-studio-looknow-flagship-shanghai-fashion-retail/

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Game Changer palette from Haymes Paint’s Vol15 Colour Library — Awakening. Shown here is Haymes Artisan, Matte Polish, Pink Drift. Photography by Martina Gemmola.

Australia’s largest owned and made paint manufacturer, Haymes Paint, has launched ‘Awakening’, the Volume 15 colour library inspiring us to embrace change. The concepts of feeling grounded, reinvigorated and ready to break free are the foundation of this new colour range, allowing our personality to shine through.

Instrumental to the creation of this palette, Haymes Paint Colour and Concept Manager, Wendy Rennie, says — “Our new colour library is influenced by Australia’s slow rekindling after what has been an unimaginable time.”

Wendy rightly points out that our homes right now play a multi-faceted role. Not only are they spaces we retreat to, “our homes need to offer everything we could once find externally through travel for escape, work for our professional outlets and outings for social gatherings,” she says. “The expectations on our homes are greater than ever before — they are our ‘lifestyle’ and it is this focus on achieving everything we can to live our best life that is driving the uptick in home improvements across the board.”

A set of three unique palettes from Haymes — Game Changer, In the Moment and Clearview — encourage us to shake up the status quo while maintaining a sense of wellbeing and calm throughout our interiors.

The range features hues that combine the notions of strength and change. These concepts evoke passion and a sense of drive to embrace new opportunities as we emerge to new experiences and realise the true essence of what it means to be alive.

“This latest forecast offers three unique ways of infusing colour and design that can talk to the sentiments right now, whether it’s a need for security and comfort, fun and optimism or a staycation — all three of our themes are covered in the Haymes Paint Colour Library Awakening Vol 15,” explains Wendy.

This Yellowtrace Promotion is supported by Haymes Paint. Like everything we do, our partner content is carefully curated to maintain the utmost relevance to our audience.

 

Game Changer palette. On walls Haymes Artisan, Matte Polish, Alabaster Shimmer.

Game Changer palette. Right wall: Haymes Sunset Pink. Elsewhere: Haymes Faded Blue.

GAME CHANGER

The Game Changer palette is conceived to encapsulate our newfound freedom to be ourselves and challenge everything, underlined by a playful vibrancy and fresh optimism.

Powdered blue, shades of sunset pinks, aqua greens, and mustard yellows bring a sense of fun and lively energy into our homes. Game Changer encourages us to break free from the limitations that have constricted our creativity and find the courage and drive to be truly free and original.

Related: Haymes Paint Reveals ‘Colour Conscience’ as the Latest Addition to their Colour Library.

 

In The Moment palette, featuring Haymes Fuzzy. Photography by Martina Gemmola.

In The Moment palette. Base: Haymes Artisan Surface Industrial, Chalk Clay. Top Coat: Haymes Artisan Scumble Wash, Coconut Grove.

In The Moment palette, featuring Haymes Sand Hazey.

IN THE MOMENT

A fresh take on the Australian landscape, the In the Moment palette features an array of varying shades of rust, earthy browns, burnt oranges, and organic neutrals to promote a sense of groundedness. The array of tones reminds us to find value in what we have already around us. Using layers and tactility, we can create spaces within our homes that reinforce a sense of security.

Our surroundings are unequivocally linked to our well-being. It is the details of the things we love that provide us with the strength to face the new normal, by creating a home that is connected to the essence of the Australian landscape with a robust aesthetic.

Related: Haymes Launches New Artisan Collection.

 

Clear View palette, featuring Haymes Classic Grey 1.

CLEARVIEW

Clearview represents the idealised tree change, sea change ideal, and everything in between. Whether it’s an aesthetic we can now adapt to perfect the ideal style and feel, or a true location change, this palette brings these concepts to life.

Its colours range from deep tones of ink blues and dark forest greens to light greys and powder blues. The new normal is to look for ways to promote idealism and to live in a way that is reflected in our day-to-day lifestyle, the core of what makes us feel the most fulfilled. Clearview enables us to create an everyday feeling of harmony, as we live more aware and in sync with what it is that genuinely aligns with our core values.

Established in 1935, Haymes is a family-owned business that’s maintained its head office and manufacturing in the same town where it all began — Ballarat — a decision that’s been instrumental in providing employment and growth to the local community. The family-owned business has built its enviable reputation with quality products and services, diversified to include a large range of surface coatings and accessories for residential and commercial projects. For more information on Haymes’ Awakening, visit haymespaint.com.au/awakening.

| The article Haymes Awakens the Senses With the Latest Colour Library. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/haymes-paint-awakening-vol15-colour-library-trend-forecast/

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Floating in time, this renovated 1930s duplex is a marriage of eras and duality of styles — artfully swerving the “total look”. For Parisian interior architecture studio Hauvette & Madani this has become their visual signature — that of making old with new.

Dubbed “Sleeping Beauty”, this pied-à-terre is located on the top floor of a building on Lauriston street, near Trocadéro in Paris. Commissioned by friends for a second time, the team were offered what most designers only dream about — “carte blanche” — to rejuvenate the apartment, reflecting the spirit of the 1930s. With this in mind, they set out to create the impression that the space has always been there, frozen in time.

Spanning 160 square metres, the existing envelope became the main source of inspiration. While the classic 1980s freestone construction of the exterior gives nothing away, inside art deco woodwork lines the walls of almost all the rooms on the ground floor. Although damaged by the sun, the team worked to restore the panels, applying a darker shade to the oak, creating depth.

Related: Elegantly Utilitarian: Paris Apartment by Ludivine Billaud.

Eclectic furniture choices and strong decorative elements were crucial to contrast with the dark panels. Groovy armchairs by Pierre Paulin and an Aldo Tura Coffee table add 70s glam to the interior — a contrast that particularly plays to Hauvette & Madani’s strength. A modern interpretation is also added with contemporary pieces from the Noguchi pendant to the sofa by the Bouroullecs for Ligne Roset. Tension is devised as the era-spanning furniture and fixtures respond to one another.

Playing with chiaroscuro, the kitchen acts as a cool antidote to the oak stained walls. Painted walls in blue-grey and white marble benches create an icy polarity with the honeycomb-hued volume. Lighting is maximised by dropping the level of the partition separating the kitchen from the living room, a simple moment that adds warmth to the small dining area.

An extensive selection of artworks complements the material choices. Curated by Galerie Française, a myriad of paintings, photo prints, engraving and drawings grace the entirety of the apartment. Hauvette & Madani’s own influences get a look in as well with artworks by Slim Aarons illuminated under Charlotte Perriand sconces in the corridor.

Restoring the bathroom to its Art Deco glory, opulent Emperador marble is balanced with Thala marble stone flooring. A custom made oak vanity continues the apartments love affair with wood, an addition that could easily be mistaken for original joinery.

Here lies the magic of Hauvette & Madani, through noble materials and an old-world sensibility they have faithfully restored the Trocadero Mansion while not falling into pastiche in a design that feels natural — having us forget any intervention at all.

A design duo taking Paris by storm, Samantha Hauvette and Lucas Madani met on the benches of the prestigious Camondo school, and have been working together ever since. Complementary in their timeless approach to design, from the conception of space to furniture design, they sign elegant and refined interiors, tinged with the patina of modernism.

Related: Rue des Réservoirs Paris Apartment Renovation by RMGB.

| The article Floating in Time: Trocadero Apartment in Paris by Hauvette & Madani. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/hauvette-madani-trocadero-apartment-paris-art-deco-intetiors/

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A ‘Zephyr’ — often referred to in sailing where a yacht may catch a gentle, uplifting breeze — is a phenomenon that draws parallels to the windswept, graceful lines of the Zephyr Lounger.

The nautically-influenced piece by celebrated Sydney-based designer, Charles Wilson, sets sail on his debut release for leading Australian outdoor furniture manufacturer, Tait. But beware — lazing the day away in the Zephyr Lounger might lead you to believe you were gliding through the Whitsundays on a yacht.

This Yellowtrace Promotion is supported by Tait. Like everything we do, our partner content is carefully curated to maintain the utmost relevance to our audience.

A collaboration between Charles Wilson (who’s worked with the likes of Herman Miller and Menu) and Tait has been a long time coming. Debuting his latest work with the brand, the Zephyr Lounger brings Wilson’s distinctive fluid forms and ergonomic finesse to Tait’s range of robust outdoor products.

“I’ve always admired Charles’ highly sophisticated work and was excited to see how the design could translate into Tait’s range,” explains Tait’s Founding Director, Gordon Tait.

The graceful, windswept lines of the seat and backrest take on a sail-like pose and create the framework for form-fitting upholstery. “I thought it would be a good idea to explore designing a modern sling-style lounger, in principle not too different from your classic camping chairs (which were very comfortable), though something a little more elegant,” explains Wilson on his conceptualisation of the lounger. “There’s undoubtedly a strong nautical connection with the piece — it was intentional. Even down to the way the woven rope detail provides tension to the seat and backrest, it reminds me of the rigging on a yacht,” Charles continues.

Related: Tait Unveils the Trace Dining Collection by Adam Goodrum.

Offering intuitive and forgiving support at all the right touchpoints, the Zephyr Lounger provides elevated, ergonomic comfort in the outdoors. Through the slightly accentuated recline and tensioned sling-style canvas, both lower back and upper neck are gently cradled. Breathable marine-grade canvas and a gap between seat and backrest allow for air movement through the piece. Even in the presence of a gentle breeze on a hot day, the lounger keeps you cool and comfortable.

Another notable feature of the design is the die-cast stainless steel armrests which ground the piece both visually and physically, due to their considerable weight. In keeping with Wilson’s signature graceful line-work, armrests taper up organically from the leg, appearing at the ideal height to catch a perched elbow. The armrests also provide added support for users who may require assistance in standing up and out from the lounger.

“We spent a considerable amount of time getting the upholstery just right. We’ve used the highest performing marine-grade canvas available on the market, with a proven track record for use in extreme marine applications (predominantly for ocean vessels, not coincidently). A lot of the outdoor fabrics of this grade can be very plastic-y and rigid, so it was imperative that the canvas offered breathability, malleability and softness to the touch. Factors which give the Zephyr its luxurious tactility, without compromising performance,” discusses Tait’s Creative Director, Susan Tait.

“We’re really loving the matched tonal pairings of the canvas with our textured powder coat finishes. As always, we’ve drawn a lot of our colour inspiration from Australian nature. We’ve focused the offering on three colour-ways; Blue-gum, Dunes and Grevillea,” Susan continues.

 

The Zephyr Lounger is offered in four options — low-back, high-back, with, or without arms. Featuring high-performance materiality to withstand extreme coastal conditions; the frame is formed stainless steel extrusion, the arms are manufactured with solid die-cast stainless steel, the canvas is marine-grade, and the frame may be finished in a choice of hard-wearing, exterior-grade and UV stable textured powder coat.

For more information on Zephyr Lounger by Charles Wilson for Tait, visit madebytait.com.au/zephyr-lounger.

| The article Introducing the Zephyr Lounger by Charles Wilson for Tait. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/charles-wilson-zephyr-lounger-tait-australian-outdoor-furniture/

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Golden Gate Park is a 1,017-acre (412-hectare) urban park located in San Francisco, California. Its rectangular shape makes it comparable to Central Park in New York City; however, it is 20 percent larger, measuring roughly 3 miles (4.8 km) east to west and half a mile (0.8 km) north to south. With 24 million annual visitors in a typical year, Golden Gate Park is the third most-visited city park in the United States.

See more here: https://bit.ly/2XlgWbA

37.769722°, -122.476944°

Source imagery: Maxar

https://dailyoverview.tumblr.com/post/662421299679887360

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The ephemeral installation at the entrance of the exhibition visualised the origins of Marcin’s work, his family history and the childhood memory of being surrounded by abandoned greenhouses. The installation lead to the main space, inviting visitors to pass through the ephemerality of nature. Photography by DSL Studio.

Making his Milan debut with a bang, Unnatural Practice was a showcase of Marcin Rusak’s most recent works together with archival and “in progress” pieces that inform the studio’s ongoing research. Expertly curated by Federica Sala, this solo exhibition took place at Ordet during Milan Design Week 2021 earlier this month.

“As the world came to a halt, the dynamic process of research and creation turned into restrained growth — a dense fermented environment where the end result is no longer an obstacle and possibilities become inexhaustible,” says Rusak.

The exhibition brought visitors into a still environment encouraging them to investigate the many layers of the studio’s work — an opportunity to see and understand the suspended substance of Rusak’s practice as a living catalogue of the decaying, ephemeral and preserved. In his work, elements such as flowers, leaves and plants are observed, analysed, reconstructed and transformed into raw material to be subsequently redesigned.

Unnatural Practice presented for the first time the deep sense of Rusak’s ongoing research and development phases that characterize the designer’s collections. From the Proustian sublimation of decay in the very first collection of Perishable Vases, via his Flora series (see more here and here), to the most recent collections of Protoplasting Nature, in which vegetable elements are petrified in metal or resin, opening a new path back to the formal Art Nouveau we know and advancing a new design era where natural elements can grow into beautiful functional objects.

Marcin Rusak collects and dissects, crystallises and destroys natural elements, giving them new life or transforming them into effigies of themselves. This process of temporal crystallization might seem an aesthetic path but it is, in reality, an elegy of the intrinsic movement of life and nature, whose elements — though suspended in their decay — continue to deteriorate with a slow trajectory that teaches us the passage of time and the value of its mutation.

Related: Marcin Rusak’s Botanical Lighting Objects are Made with Real Leaves Encased in Zinc.

The exploration continued into the world of dynamic transmutations of nature, investigating the interaction between material and subject, science and art. From the ancient Egyptians’ abstracted lotus to the iconic designs of William Morris, it is apparent that the appeal of floral imagery is timeless. Flora material iterates upon this human impulse to incorporate the natural world in decoration by preserving, rather than representing decorative forms. The investigation into flower waste and the process of ageing sparked an idea of the material that evolves over time.

Protoplasting Nature is a family of furnishings composed of waste metal and botanical material. The creative act that implements the project focuses on complementary concepts of evolution and involution in time, making opposing processes evident — of life and death, renewal and decay — that intervene during an experiment of co-creation between vital and inert matter, the action of man and that of nature. The load-bearing structure of the pieces in this series is a reticular framework in steel wire, shaped by hand, a curved tangle of parts connected by a series of welding points. As a whole, it reflects the formal characteristics of furnishings in the style of the 17th century.

The exhibition saw the premiere of the Unnatural Practice film by Aga Beaupré, which focused on Marcin’s poetic research process.

Unnatural Practice began with an ephemeral installation at the entrance that visualised the origins of Marcin’s work, his family history and the childhood memory of being surrounded by abandoned greenhouses. The installation lead to the main space of the exhibition, inviting visitors to pass through the ephemerality of nature. Inside, a collection of perishable works explored nature’s perpetual cycles of renewal and degradation, showcasing the process of decay of the artworks as much as its final results.

Marcin invited his friend and collaborator, Barnabe Fillion, a French fragrance expert and perfumer, to create scents that would help describe his work. These were placed within the exhibition to complete the visual experience and enhance the “living” element of the pieces. Marcin and Barnabe focused on three main projects for the studio — Flora, Perishable Series and Protoplasting Nature — and approached the scents as if they were physical objects made of compositions of materials and processes.

The exhibition also saw the premiere of the Unnatural Practice film, written and directed by Aga Beaupré, which focused on the artist’s poetic research process. Watch it below.

Related: Flora Noir Furniture Collection by Marcin Rusak.

| The article Finding Beauty in Decay: Unnatural Practice by Marcin Rusak. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/marcin-rusak-unnatural-practice-federica-sala-milan-design-week-2021/

#HTE

Capturing the vibrancy of Shanghai’s Xintiandi area, LOOKNOW’s latest flagship store by Sò Studio invites customers into the creative process through a menagerie of art, objects and texture. Simulating an artist’s studio space and residence, the 240-square-metre interior takes us on a visual escapade through an imagined creative abode.

Located in the heart of the city, Xin Tian Di seamlessly blends colonial-era Shikumen housing with the contemporary architecture of the modern megacity. In keeping with this tradition, the designers retained some original fixtures alongside the new. Historical traces — antique doors kept from the old house and random rocks picked from the quarry — serve both aesthetic and functional purposes, as the design becomes a continuation of Shanghai’s urban history.

Related: PEU à PEU Sports Store in Hangzhou, China by Sò Studio.

With flexibility in mind, Sò Studio organised the store into three distinct areas — exhibition, major display and accessories. Defined by a butter hued framing, the exhibition area is a striking focal point. A place for pop-ups, shows and installations, it also acts as a transitional piece delineating each of the corresponding zones.

Exposed brick walls and structural steel were kept as other features were repurposed; abandoned pipes were rearranged into racks for handbags and blue paint was applied unevenly, adding to the current peeling appearance. The designers looked at balancing these existing industrial elements with sculptural forms, colourful accents and surprising finishes.

Related: Back to Nature: Restaurant Lunar in Shanghai by Sò Studio.

The biggest structure in the store may be the most surprising. Located in the centre of the display area the fitting room is draped in fabric softening the hard angles. As circulation flows on all sides plush boyfriend chairs in primary red and blue sit alongside — perfect for lounging.

In the accessories area, abnormal and exaggerated cabinets dwarf the volume. A standing lamp that looks like a launchpad, mottled cabinetry and a custom carpet add cool flourishes to LOOKNOW’’s “it” store cred. Enclosed between walls a living room immerses customers further into the world of the artist. With a sofa, carpet, clothes racks and wood the intimate room feels comfortably lived in.

This magical melange of spaces and objects blur the boundaries between the real and imagined as Sò Studio rewrites used materials into LOOKNOW’s contemporary narrative.

| The article Artist in Residence: LOOKNOW Flagship Store by Sò Studio. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/so-studio-looknow-flagship-shanghai-fashion-retail/

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Residential development is seen in Boca Raton, Florida, USA. Because many cities in the state contain master-planned communities, often built on top of waterways in the latter half of the twentieth century, there are a number of intricate designs that are visible from the Overview perspective. Boca Raton is home to roughly 91,000 residents.

See more here: https://bit.ly/3tHBnLO

26.386332°, -80.179917°

Source imagery: Maxar

https://dailyoverview.tumblr.com/post/662321520587194369

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The post The Real Reason Why You Sabotage Your Own Goals appeared first on Nir and Far.

https://www.nirandfar.com/psychological-reactance/