Category: Photography

Created by then 26-years old Daisy Jacobs, ‘The Bigger Picture‘ is a short animation telling the story of two brothers facing the terminal illness of their aging mother.

A BAFTA-winning, Oscar-nominated film, Jacobs’s work is a technical masterpiece, combining life-size sets and puppets with 2D painted art to underline dramatic expression. The story is based on personal experience of the director’s grandmother’s illness and the affect it had on her family. In the 7-minute long animation, Jacobs explores tough relationship of two middle-aged brothers as they face their mother’s illness and various emotions it carries along – from everyday, painfully pragmatic hardships to the thoughts of their own death. After the spectacular success of ‘The Bigger Picture’, the director now works on her new film – ‘The Full Story‘.

In the series ‘Hungarian Sea‘, Polish photographer Michal Solarski revisits the Hugarian Lake Balaton to capture the summer paradise from his childhood.

“Balaton has hardly changed, it is almost exactly the same as I left it. Only now for me it is no longer a paradise.”

The largest lake in Central Europe, in the 60s Balaton became the major holiday destination for ordinary Hungarian workers, as well as for the lucky citizens of other countries hidden behind the ‘Iron Curtain’. Not being able to dream of travelling to Spain, Italy or Greece, Solarski’s family could go as far as to Hungary to see what’s out ‘there’. Flipping through his family album twenty years later, the photographer noticed only one image taken during six trips to the ‘Hungarian Sea’. With only one blurry reminiscence from the past, he decided to go back to the lake and see it once again through the eyes of a little boy. As he traveled around the summer resort, the memories, but also conclusions begun to flood back: “Balaton has hardly changed, it is almost exactly the same as I left it. Perhaps a bit more rusty, but the atmosphere remains the same. I have grown and changed.”

“We were heading south. It was the most exciting time of the year. Luggage, fixed to the top of out tiny Fiat made the car look almost as high as it was long. There were three hundred miles to drive but for us it was almost an eternity.

Three hundred miles could easly take more than one day if we happened to come accross nasty officers at the border, who would scrutinise our car inside out in case we were smuggling contrabands.

Equipped with government-issued food vouchers and a little amount of pocket money in local currency, we were driving to a warm, colorful and pleasant place.

For us, coming from sad, cold, and almost monochromatically grey Poland, it was like a window to the world. On arrival we found ourselves surrounded by a multitude of smells and colours.

I would play endlessly on the beach with my sister and my parents. We would swim in the warm waters of the lake. For the next two weeks we would indulge in the holiday spirit until the day we had to make our way back home.”

Famous for the beautiful scenery of a unique seashore, Korean city Busan gained a new remarkable point on its map – a monumental concrete cafe.

“The significant matter of this project is how we can grasp and deal with the relationship between natural scene and architecture.”
Situated on a hill overlooking the shore of Gijang, the ‘Waveon Coffee’ is a location one of its kind – a 500m2-sized concrete structure, it is comprised of three enormous volumes, rotated in different directions. A spacious interior, designed by IDMM architects, includes white cladding and full-size windows opening breath-taking views. Depending on the side the visitors look from, they discover diverse views of the sea. The guests can also relax at a series of stepped wooden platforms, strewn among the pine trees at the back of the cafe. The design of the platforms comes from traditional Korean ‘pyeongsang’ – an outdoor deck used for small social activities. In addition to all that, the architects say: “Accordingly, the significant matter of this project is how we can grasp and deal with the relationship between natural scene and architecture.”

All images © Jaeyoon Kim

‘I’m Not There’ by Pol Úbeda Hervàs is a series of images that displays Hervàs looking at his own shadow. Though the man has been removed from the pictures and all that is left is a pair of sneakers and a dark shape. Hervàs was inspired to shoot this series as he said: ‘I don’t recognize myself any more.’ He leaves the sneakers in the images to remind the viewer that there is still a man somewhere behind the shadow.

All images © Pol Úbeda Hervàs | Via: Hypenotice

Polish photographer Tomasz Margol has quickly gained a big Internet audience with his on-point street images.

Coming from Czestochowa, a city in southern Poland, Margol is better known abroad than in his native country. With most of his works being sold in USA, the photographer gained the popularity soon after he started to publish his images on the Internet, mainly on Tumlbr and Instagram. Shot in different parts of the world, Margol’s images are quietly peeked scenes, caught in that one right moment that’s so easy to miss. Looking at these photographs is like wandering through a city and catching little nuances of the surrounding world. May it be a portrait of a peculiar passer-by or a carefully captured composition of tones, Margol’s imagery seems to simply celebrate the act of observing.

Architecture practice Bruno Lucas Dias designed the lodge “ Watermill on the Crag“, built with recycled materials from an old watermill in Portugal’s Crags of Saint Simon. The architect’s goal was to construct an energy-efficient building on a modest budget without losing sight of design and comfort.

“This local lodging project is born out of the respect of the existing language, and aims to requalify the constructions and their context, faithfully respecting, as much as possible, its past use“, states the architect.

The building contains a bedroom, an open living room, a dining area, a kitchen, a bathroom as well as an outdoor patio providing a view of the mountain and the creek. Because of its design, the refuge blends in with its environment. One reason for this is that primarily natural materials were used for the new construction.

The external walls were by contrast crafted from an old watermill and built of stone, all of which creates a place of calm. While the exterior design was mostly retained, the interior was largely redesigned: white walls and surfaces out of pinewood as a regional material bring coziness to the Crags of Saint Simon.