Imagen 156 de 179 de la galería de Referentes esenciales del mundo del arte para la formación de cualquier arquitecto. Tomás Saraceno
Marc Fornes / Theverymany presentó la instalación "Boolean Operator" en el Centro de Suzhou. Este caparazón poroso esta basado en la obra de Julio Verne.
Aquaculture, also known as aqua farming, is believed to have first begun around 4,000 years ago in China with the production of carp and is now the fastest-growing animal food production sector in the world. For the first time in history, the consumption of farmed fish has exceeded that of wild-caught fish, and by 2030, aquaculture is expected to account for two-thirds of the fish that humans consume.
From conventional freshwater to tropical saltwater species, fish can be a fun way to add some life to your living room - but with these cool aquariums, you...
Explore annahepler's 327 photos on Flickr!
For the final iteration of his performance series Organic Concept, artist Shih Chieh Huang filled the Renaissance Court of the Worcester Art Museum with a gigantic worm-like sculpture. The work loops its way around the room’s staircases and columns, pulsing with the pressure of several box fans that keep the structure alive. For the last 15 years he has filled gardens, roadways, and malls with similar pieces, allowing rolled painter’s plastic to flail its way through each space it inhabits. More
Es verano declarado, época de aligerar todo lo aligerable y despojarnos de todo lo que sobra: ropa, paredes y preocupaciones. Es época de estar en la calle, y disfrutar de arquitecturas “frescas”, como éstas que os mostramos.
Car brand MINI has begun expanding into urban development with its MINI Living building in Shanghai, and URBAN MATTERS, a program that repurposes spaces..
Esta es una pequeña terminal para barcos de pasajeros en Honmura, Naoshima. Se necesitaba una nueva terminal con un lugar de espera.
Es verano declarado, época de aligerar todo lo aligerable y despojarnos de todo lo que sobra: ropa, paredes y preocupaciones. Es época de estar en la calle, y disfrutar de arquitecturas “frescas”, como éstas que os mostramos.
Mixed gallery of images of some of our favourite inflatable sculptures from around the world. Designs In Air - Bespoke inflatable art for hire and commission.
with his installation titled 'boreal halo,' vincent leroy pulls us into his imaginary world where time is slowed down and movement is decomposed.
Las oficinas originales están de moda, y Amazon se ha superado con Amazon Spheres en su sede de Seattle, unas esferas invernadero firmadas por el estudio NBBJ.
In an attempt to “create an alternative environment” in the center of Amazon’s recently approved, three-block headqua...
We Love Green se tiendra le week-end du samedi 2 et du dimanche 3 juin 2018. Pour cette nouvelle édition, le Festival entre dans une nouvelle dimension et
Gwangju Biennale Urban Bloom Garden, an exploration of vulnerability in urbanism, transforming a leftover public space into an urban oasis.
Image 13 of 13 from gallery of Peace Pavilion / Atelier Zündel Cristea. Photograph by Atelier Zündel Cristea
Explore annahepler's 327 photos on Flickr!
Es verano declarado, época de aligerar todo lo aligerable y despojarnos de todo lo que sobra: ropa, paredes y preocupaciones. Es época de estar en la calle, y disfrutar de arquitecturas “frescas”, como éstas que os mostramos.
While Lyon's Festival of Lights (or "Fte des Lumires" in French) just wrapped up, we can still marvel at some of the standout light installations. As
Découvrez les temps forts du salon AD Design Show 2019 à New York, où les créateurs émergents et les designers établis ont présenté une gamme variée de pièces de mobilier, d'objets d'art et de concepts innovants. Explorez les dernières tendances du design contemporain et les artistes qui ont marqué l'événement, vous inspirant pour vos futurs projets de design d'intérieur. De la simplicité intemporelle au minimalisme audacieux, plongez dans l'univers du design à travers une sélection exceptionnelle de créations.
直島の本村側に位置する直島港にSANAAデザインの新しいターミナルが建設された。待合室や駐輪場、トイレ機能を持
A new sculpture by Anish Kapoor 'Tall Tree and the Eye' is displayed in the courtyard of The Royal Academy on September 22, 2009 in London. The Anish Kapoor exhibition runs from September 26 to...
I had only half an hour to run in for a look at Anna Hepler's show "Makeshift" at the Portland Museum of Art (PMA) when I visited Maine a week or so ago. But that was long enough to enter the Museum's Great Hall and be entranced by Hepler's massive plastic web installed under the central skylight in the hall's huge open space. What a magical display of light and volume she created from salvaged tarps and boat wraps! (NOTE: Click on photos to open up large.) Hepler's The Great Haul in the Great Hall of the Portland Museum of Art (image courtesy of PMA website) Another view of The Great Haul (PMA website) Patterned light spilling onto the floor from The Great Haul (PMA website) Anna Hepler's exhibition at the PMA, called "Makeshift," consists of four parts: The Great Haul, Full Blown, series of 12 Inflatable Drypoints and 8 "Cyanotypes" (each to be explained later). The Great Haul was not part of the original exhibition proposal but was added later when Hapler convinced curators that this installation would take advantage of light spilling into the museum's entry hall and draw viewers into the space to see the work. Fortunately, she had her way because this piece is the star of the show and a wonderful creation that draws attention not only to itself, but to the volumetric architecture of the space. To understand what really went into Hepler's creation of this piece, you have to watch the 12-minute video by David Camlin produced for the PMA. Believe me, you won't be sorry that you invested your time. Hepler is thoughtful, intelligent, inventive and a great art talker. The video shows her gathering skanky used tarps (without gloves or special clothing!) and boat wraps for the piece, then cutting the plastic into manageable hunks and then slicing those into strips that were sewn into latticed nets on sewing machines by Hepler and an assistant. When the piece was installed at the museum, nets were joined together by staples. If you go up close to the piece, you can see lengths of sewing thread in various colors sticking out from seams and adding a delicate extra dimension to the work. (If I had been taking the pictures, I would have taken one of this.) This was a gargantuan effort because the piece is 20 feet x 20 feet x 20 feet. Light falls into the piece from above but seems to emanate from inside the huge webs, which are actually double webs - blue inside and clear or white outside. Upstairs gallery: Full Blown and cyanotypes (NN photo) Upstairs on the fourth floor is an open gallery, more like a balcony or mezzanine that is open above to skylights and open below to a large gallery on the third floor that contains the PMA's limited collection of contemporary art. In the photo above you can see in the distance a deflated version of Full Blown and the wall of cyanotypes on the right. Full Blown in a deflated state (NN photo) Full Blown, like The Great Haul, hangs from a skylight so that it receives natural light. It's a translucent but relatively solid container for the compressed air which blows into it from a compressor above and inflates it every 16 minutes. Then air slowly leaks out through the taped seams or thin plastic and it goes to a deflated state. In the video, you can see Hepler very excited the first time it's blown up and she gets to look inside the giant balloon. Here's the inflated version and you can see how it lifts off the floor when full (PMA photo) Light and volume are the twin focuses of Hepler's work and even in her drypoint prints (that she calls "Inflated Drypoints") and cyanotypes she has found a way to translate three dimensions into two by first building volumetric structures using plastic and tape. Tape forms the skeleton of the pieces. This was my favorite of her drypoints and the biggest at 23.25"H x 50"W. It's a drawing of the tape that Hepler used to hold pieces of plastic together and form a balloon-like shape, a smaller version of Full Blown. You will see her in the video blowing up objects like that with a straw. To draw the object, Hepler let the air out of it and drew the flat shape. The variation in darkness of the tape is caused by the slight dimensionality of the deflated shape. (NN photo) Here's another drypoint that you may be able to see better. (PMA photo) And here's a third one that is more schematic. There were a whole series of these drawings based on 3-D objects that she first created and then flattened. (PMA photo) Then there are the cyanotypes, but they are not just cyanotypes per se. To make cyanotypes, you coat paper with a light-sensitive solution that turns blue when exposed to light. You let the coating dry in the dark, then expose the coated paper to a strong light (sunlight or bright lightbulb) with an object on top of the paper. The object that you wish to capture interferes with light hitting the coated paper and that part does not turn blue. You are left with a negative image of the object against a blue background. Dimensionality of the object is indicated by the clarity of the negative; parts that are farther away from the paper are less defined than those that are close. Hepler used this process but in a much more convoluted way. She first collected insect wings, scanned them, then cut up and assembled the scans into 3D sculptures. She then photographed the sculptures, exposed transparencies to the cyanotype process, then copied and enlarged the cyanotypes, finally printing them out on inkjet printers. Wow! What a lot of manipulation! But what she got were images of objects that seem made out of light. They almost look like animated versions of atoms buzzing around in space. Above, three examples of the eight cyanotypes (35" H x varying widths). Anna Hepler was chosen to be the first artist in a new series of exhibitions at the museum called CIRCA that will focus on contemporary art in Maine. This is a great beginning for the series and the museum did a very comprehensive job of presenting it in a nicely installed exhibition, large color brochure with many images, full image gallery in high and low resolution on the website, image checklist with sizes, 12-minute professionally-produced video running in two galleries at the museum and available on the website, links to reviews, Hepler's statement, c.v. and website link, press kit, etc. All museums should do as much for their exhibitions. Kudos to the Portland Museum of Art for dotting all the eyes and crossing the tees. Front entry to the Portland Museum of Art (NN photo) Circle motif on the facade (NN photo) I was very impressed with the architecture of this buildiing. The spaces were interesting and details of lighting, stairways, windows, etc. were unusual. The building was designed by Henry Nichols Cobb of I. M. Pei & Partners and opened in 1983. I thought it had a much more contemporary feel. I enjoyed my visit and am looking forward to more exhibitions in the CIRCA series.
千利休は待庵にスサのたくさんはいった粗い土壁を用いた。当時の支配的建築様式である書院造の無味乾燥でかたくるしい雰囲気に対するアンチテーゼがその土壁であった。直角であるはずの土壁の入隅は丸められ生き物のようなやわらかさをたたえていた。同じようにして、この茶室もやさしく、やわらかくありたいと思った。茶室とはかたくるしく規則正しい社会に対するアンチテーゼの場であると考えたからである。ここではスサの代わり …
Imagen 5 de 13 de la galería de Peace Pavilion / Atelier Zündel Cristea. Fotografía de Sergio Grazia
