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Category: Art

  • A Chair Made Of Vintage Bricks

    A Chair Made Of Vintage Bricks

    With a background in product design and craftsmanship, Frederik Kurzweg created The Brick Chair – a witty and smart object made of old bricks.

    Trained as a cabinet maker at a traditional company near Münster, Germany, Kurzweg was first noticed and awarded for making a handcrafted journeyman’s piece.

    Motivated by this early success, he started studying industrial design at the University of Applied Sciences in Magdeburg, where he expanded his professional knowledge about different material properties and technical design processes.

    With its playful form and ephemeral look, ‘The Brick Chair’ looks like it is just about to fall apart in pieces. But this lightness might be misleading – in fact, the chair is very solid thanks to the usage of 253 old bricks that were saved from the oven. Using the old material, Kurzweg gave the forgotten material a new life, creating a unique and modern piece.

  • Originally In Non-Original Form with Thomas Albdorf

    Originally In Non-Original Form with Thomas Albdorf

    The Austrian photographer who shifts perceptions of inanimate objects, Thomas Albdorf, while wandering into urban outskirts.

    In his 2012 photo collection, Actualities Albdorf uses various objects as sculptures and stages them by colour, contrast, and surroundings before he releases his shutter.

    At first, Albdorf used only the rubble on streets until he experimented with objects in his own environment – showcasing the properties of (old and new) commodity through simple schemes.

  • Yayoi Kusama’s 1.300 Floating Steel Balls

    Yayoi Kusama’s 1.300 Floating Steel Balls

    Originally created for the 1966 Venice Biennale, Japanese artist Yayoi Kusama‘s installation Narcissus Garden has recently been reconstructed at the Glass House Estate in Connecticut. 1.300 steel balls are drifting on a pond, creating a dramatic view to American architect Philip Johnson‘s iconic Glass House.

    They form a kinetic sculpture that moves with wind, following the pond’s natural currents. The Glass House Estate in New Canaan features 14 structures designed by Johnson who was the first architect to win the famous Pritzker Prize and died at the house in 2005.

    The installation can be visited until November 2016.

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    All images © Lane Coder via Dezeen
  • Speaking Of Love Through Lights And Shape

    Speaking Of Love Through Lights And Shape

    Situated in Southbank Center, the installation catches the visitor’s eye immediately with its vibrant colours and shimmering material. Recalling heart, each of the aluminium structures is made of intertwined tubes and clad in 3M’s Solar Mirror Film.

    The designers from New York-based studio SOFTlab took advantage of the material’s properties to refract and cast the light to put a woven landscape of colour into the interior of Southbank Center.

    A kaleidoscope of sunlight reflections, the net-like hanging structures interprets the stories of Babylon and Eden. While the first one was a place of many cultures and languages, the second one symbolizes free knowledge and expression, which appears to be the designers’ response to the main idea of the festival.

  • Turning Into Public Transportation Seats

    Turning Into Public Transportation Seats

    One project, called Bustour, is based on eye-catching uniforms that she made of bus covers from Germany’s transportation network. Wearing the dresses whilst riding the buses, Menja captured the reaction of fellow passengers.

    “The photographs from the series “bus tour” were taken during the making of the different videos for my performance series “public pattern” that I had accomplished, both by tailoring the dresses and handbags and by being filmed using the different bus companies in my camouflage outfits.

    The main idea was to become invisible in the camouflage dresses and at the same time make the overlooked be noticed: It’s the ugly design of bus seat fabrics for instance that is being ignored each and every day by the public.

    The fabric remains invisible and nobody takes notice of it because it can’t be changed or undone anyway.

    With my bus tour performances, I indirectly pose questions regarding art, design, beauty, function and life quality.

    Why can’t the functional out there be beautiful? Why are we simply exposed to such unpleasant design in public space? Who designs these fabrics and is the purpose of dirt-repellency the ever existent excuse for bad taste in public transportation?”






    All images © Menja Stevenson

  • Do Ho Suh Investigates The Idea of Home

    Do Ho Suh Investigates The Idea of Home

    “Pretty much every public art piece I’ve made is an anti-monument.”

    He focuses on the ways people occupy public space and challenges the identity of the individual in a global society. “Viewers have to have a completely different relationship with the piece, so their way of looking at art has to change.” Suh said in an interview with Sculpture Magazine.

    Do Ho Suh was born in Seoul where he studied Oriental Painting. He moved to the United States and continued his studies at the Rhode Island School of Design and Yale University. The artist’s work can be seen in numerous museums worldwide, including the Museum of Modern Art in New York City or the Tate Modern in London.

  • Large Scale, Spiral Dessert Artwork Slowly Transforms

    Large Scale, Spiral Dessert Artwork Slowly Transforms

    In 1997 the D.A.ST. Arteam completed the monumental piece Desert Breath, located between the Red Sea and a body of mountains in the Egyptian desert. The construction works both as a visual image from above and as a spiral pathway from the ground.

    It consists of 8.000 cubic-meters displaced sand which forms positive and negative conical volumes and describes the shape of “two interlocking spirals that move out from a common centre with a phase difference of 180 degrees in the same direction as rotation.” The centre, a 30 meter diameter vessel, was originally filled with water but as the years pass the piece continuously transforms and becomes one with the infinity of the desert. Although it is slowly disintegrating, it stands as an instrument to measure the passage of time.

    You can explore the artwork as it looks today here on Google Maps.

    All images © D.A.ST. Arteam – Source link