Category: WOW

These gorgeous color postcards of Tunisia, showing its vibrant streets and spectacular architecture, are part of The Library of Congress’ Photochrom collection. Produced in 1899, the postcards were printed using the popular Photochrom technique invented by a Swiss printer in the 1880s. This process for producing colorized images from black and white negatives was especially popular prior to color photography, and allows a glimpse inside Tunisian culture at the turn of the 20th century.

In order to obtain the final color image, lithographic limestone was first coated with light-sensitive chemicals. After exposure to sunlight for several hours, with the negative on top, a fixed photographic image remained on the stone. Subsequent stones for each color tone in the image—based on the photographer’s memory—were created and used to print the finished, color postcard. In most cases 10 to 15 stones were used in order to create the range of colors, resulting in color images with quality superior to hand coloring.

As a French protectorate at the time, the Tunisia postcards demonstrate daily life a little under 10 years into colonization, which lasted until the Tunisian independence of 1956. The postcards show touches of French influence, with the nearly finished Cathedral of St. Louis appearing in the background of one image. This Roman Catholic cathedral, built in a Byzantine-Moorish style, required the permission of the Bey of Tunis for the French console to begin construction.

Other images show the opulent quarters of the Tunisian monarchy, a stark contrast to the pared down, yet vibrant, street life depicted. People gather at markets and cafes or attend mosque. Bedouin nomads set up camp and a traveling cook sells his wares on the street. Preserved through time, these souvenirs leave us with a lasting memory of Tunisia on the brink of the 20th century.

Above image: A street in Kairwan

A market in Kairwan

Souc-el-Trouk, Tunis

A snake charmer puts on a performance in Tunis

Leaving a mosque, Tunis

La Porte Française, Tunis

A traveling cook, Kairwan

A group before Bab Aleona, Tunis

The waterfront of Sousse

Bedchamber of the late Bey of Tunis, Kasr-el-Said

Private drawing room, Kasr-el-Said

Cathedral of St. Louis, Carthage

Bab Suika-Suker Square, Tunis

Kasbah market, Tunis

A bazaar in Tunis

A family of Bedouin beggars, Tunis

A camp of nomads, Tunis

Arabs in Tunis

A Bedouin woman, Tunis

via [Mashable]

All images via The Library of Congress.

In 1987, acclaimed architect Roderick James transformed a crumbling concrete home into a beautiful barn house. Known as the Seagull House, the charming abode is situated along Old Mill Creek in Devon, England. With its timber construction and rustic aesthetic, the spacious and sunny Seagull House showcases James’ avant-garde approach to architecture.

Originally built in the 1950s, the concrete dwelling was both ill maintained and stylistically outdated when James purchased it as a family home in the 1980s. Describing its appearance as “plain,” the architect decided to give the simple structure a much-needed modern makeover. Inspired by its scenic surroundings and idyllic creekside location, James decided to completely dismantle the concrete home and, in its place, build a beautiful barn house entirely from scratch.

When designing and erecting the space, James did not cut any corners or take any shortcuts. In order to authentically construct a barn house, he did something surprisingly logical: he first built a barn. “The benefit of building a barn from scratch is that you can have the big open spaces of a conversion, but you can also put the bedrooms and windows where you want them,” James told The Telegraph. Once his barn was complete, he skillfully turned it into a living space.

Using oak—James’ signature wood-of-choice—the ambitious architect constructed the frame for the barn house. The oak-shingled roof is sturdily supported by oak arch-braced collar trusses (horizontal, curved beams situated between rafters), which give the space a contemporary cottage feel. In the gallery, an oak ladder leads to a comfy loft complete with fireplace framed by—you guessed it—oak. While obviously overwhelmingly made of oak, James did use other types of timber to construct the space. Douglas Fir—an evergreen known for its durable timber—is another loved lumber, and it was used to build the home’s studio, balcony, and conservatory with a view. 

With its classic construction and modern design, the Seagull House is a perfect combination of cozy and sophisticated.

Roderick James: Website | Facebook | Twitter
via [Carpenter Oak, The Telegraph] 

All images via Carpenter Oak. 

For many folks, Black Friday is an exciting day to shop till they drop. Seattle Humane animal shelter, however, is instead encouraging its locals to adopt rather than shop. On November 25, 2016, they’re offering free adoptions for black cats looking for their forever home.

The black cat has historically been associated as a symbol of bad luck, and it’s a myth that still persists today. According to a 2013 infographic in The Huffington Post, 13% of Americans “are superstitious about a black cat crossing their path,” coupled with over a quarter of respondents who said that color was “very important” when adopting a furry feline. This is evident to the Seattle Humane, who has also commented that black cats traditionally spend longer in the shelter—hence the reason for their aptly-timed promotion.

If you’re near Bellevue, Washington and want to spread the love this holiday, the shelter will be open from 11AM to 8PM on Friday. And who could resist—just look at how cute black cats are!

Above photo credit: Anastasia Leanca

Photo credit: Casey Elise

Photo credit: Marcin Kozar

Photo credit: Haytham Maghraby

Photo credit: Casey Elise

Photo credit: Shuana Kenworthy

Photo credit: Zyad M. El-Kadiki

Photo credit: Casey Elise

Photo credit: M.S. Niloy

Photo credit: Julie Missbutterflies

Seattle Humane: Website | Instagram | Facebook
via [Mental Floss]

Bike share programs are rapidly growing across the world. Cities in Europe, China, and Canada have long been participants of urban bike share programs, and an increasing number of cities in the US are coming onboard. New York City, San Francisco, Chicago, Austin, and Washington D.C. all have well-established programs, while places like Los Angeles, Baltimore, and Portland launched theirs in 2016. As the number of bikers continue to grow, their safety must be taken into consideration. Isis Shiffer took this into her own hands by creating the EcoHelmet, a collapsible helmet made of paper.

As a graduate of the Pratt Institute of Design in New York, Shiffer made the EcoHelmet from layers of recycled paper woven into a honeycomb-shaped structure. The innovative covering is designed to be light yet durable and keep shape to the cyclist’s head while it’s worn. It is creatively convenient and even waterproof, with a biodegradable coating that protects the helmet from the rain for up to three hours. The design has passed the European safety standards but still needs to be Consumer Product Safety Commission (CPSC) certified before it is officially listed on the US market.

Shiffer intends for the product to be sold at bike share stations and accessible to all riders. “It was important to me to keep the price as low as possible and the look as universally appealing as I could,” she explained. The targeted list price is £4 (about $5), and Shiffer is working on developing custom machinery to help produce mass quantities of the design.

The brilliant EcoHelmet has been named this year’s winner of the James Dyson Award, which challenges young students to “design something that solves a problem.” James Dyson, the creator of the Dyson Award, was clearly impressed by Shiffer’s creation, indicating that the EcoHelmet solves an “obvious problem in an incredibly elegant way.”

According to a 2014 study from the U.S. Census Bureau, the number of people who commute to work by bicycle has increased about 60% over the past decade. The demand for accessible, effective bicycle helmets will only continue to rise in the coming years, so be on the lookout for EcoHelmets at a bike share station in your city.

EcoHelmet: Website | Facebook | Twitter | Instagram | Snapchat 
via [Dezeen]

All images via EcoHelmet.

Fascinated by the birds in her own backyard, Maine-based artist and avian enthusiast Jada Fitch has created an adorable series of one-of-a-kind “Chickadee Houses.” Like a typical birdhouse, each tiny dwelling provides shelter and seed for some particularly fortunate fowl. However, unlike the traditional model, the artist’s houses are furnished, decorated, and even give Fitch a bird’s eye view of her feathered friends.

As an illustrator and animal lover, Fitch often drafts delightful drawings of creatures, from woodland critters to winged insects. Naturally, she is interested in observing her wildlife subjects. One day, in an attempt to bird-watch, Fitch decided to try luring the chickadees to her window with a cozy, food-filled house. Rather than simply tape a 3-sided box to her window, however, Fitch—ever the artist—opted to creatively decorate the tiny cardboard homes with watercolor illustrations and teeny-tiny furnishings. Her first creation is particularly charming: quirky portraits of birds are hung salon-style on the walls, which feature faux wallpaper, clever fake molding, and window cut-outs, while “hardwood” floors are covered in miniature rugs and pocket-sized chairs. Comfy and welcoming, the little lodging is more of a “bird home” than a “birdhouse.” Once her prototype was complete, she set up a camera to capture the visiting birds throughout their stay. 

After creating her first Chickadee House, Fitch constructed three more, and she now has plans for creating more—though she hopes to fine-tune her approach to design and construction. “Because the homes are mostly cardboard and watercolor, they don’t get left out long enough to get wet or destroyed by squirrels,” Fitch explained on her Tumblr. “A waterproof version prototype is in the works.” We’re sure the birds will sing with delight!

Jada Fitch Illustration: Website | Instagram | Tumblr | Twitter | Shop
via [Lustik]

All images via Jada Fitch Illustration.

In what he perceived as a race against time, due to the American expansion and the intervention of the federal government, photographer and ethnologist Edward S. Curtis spent more than 30 years documenting Native Americans and their traditions. In 1906, with the sponsorship of J.P. Morgan, Curtis undertook the production of what was set to be a series of 20 volumes with 1,500 photographs of Native Americans. Originally, five years was designated to the project, but its ambitious scale pushed Curtis well beyond the deadline. Under the original terms of the sponsorship, Morgan paid out $75,000 over five years in exchange for 25 volumes and 500 original prints. This was enough for Curtis to purchase his initial equipment to make the arduous voyages to each tribe, but money quickly grew scarce.

For more than three decades, Curtis was on the move, living among different tribes. During this time he was able to photograph well-known Native Americans, such as Geronimo, Red Cloud, Medicine Crow, and Chief Joseph. Interested in more than just photography, Curtis wished to capture a full view of Native American culture. While visiting more than 80 tribes, he created 10,000 wax cylinder recordings of Native American language and music, certainly an important component for preserving the tribes’ legacy.

To Curtis’ dismay, The North American Indian was not the success he had envisioned—partially due to the onset of WWI, as well as diminishing interest in Native American culture. Less than half of the projected 500 sets were printed and scholars were skeptical of Curtis’ observation skills. It’s estimated that today, production of the volumes would cost more than $35 million dollars.

While there remains controversy over Curtis’ choice to strategically eliminate traces of contemporary life from his later photographs, Laurie Lawlor, author of Shadow Catcher: The Life and Work of Edward S. Curtis, see it differently. ”When judged by the standards of his time, Curtis was far ahead of his contemporaries in sensitivity, tolerance and openness to Native American cultures and ways of thinking. He sought to observe and understand by going directly into the field.”

via [Vintage Everyday, Smithsonian Magazine]

The colorful creatures conjured up by artist Vorja Sánchez are both fit for a fairytale and from your wildest dreams. Everything about the animal-loving, Barcelona-based illustrator’s oeuvre—from materials used, style employed, and fauna depicted—is eclectic, making each peculiar piece entirely unique and visually alluring. To create soft and dreamy depictions, like his comprehensive collage of realistically rendered birds, Sánchez uses washes of watercolor and subdued colored pencils. For his more stylized, inventive animals, he often relies on the bold and graphic nature of pen and ink as well as spray paint. Sanchez also frequently pairs traditional graphite pencils with paint to produce mesmerizing mixed media creations that contrast hazy hues with black-and-white line drawings.

While his entire portfolio is wonderfully whimsical and frequently features collage-like compositions, the pieces that comprise it are not obviously by the same artist—a rare quality found in few artists. While some are inspired by daily observations (especially his experiences during his time in Nicaragua), others are entirely made-up. With his sundry aesthetic approach and range of subject matter, he is able to easily diversify his work and alter his aesthetic from piece to piece.

You can see more beguiling beasts (as well as adventures with his adorable dog) on Sánchez’s Instagram.

Vorja Sánchez: Facebook | Instagram 
via [Colossal]

All images via Vorja Sánchez.

To really appreciate Greg Payce’s artwork, you’ve got to read between the lines—or in this case, look between the vases. In 2008, the Canadian ceramicist created an alluring sculptural arrangement called Alumina, in which seven ornate vases stand in a line on a concrete platform. They are assembled in a graceful, alternating pattern of slender and bulbous forms that together, bring his work alive.

The magic of Alumina comes from the optical illusion that it produces. Payce has created a three-dimensional representation of Rubin’s vase, in which a figure (often a face) is revealed through the edges of two forms. Here, the negative space between the vessels produces silhouettes of six female portraits, bringing a whole other facet to the work.

Above photo credit: Grace Nickel

Alumina is just one piece in Payce’s impressive portfolio—much of his work animates negative space in the same way:

via [Twisted Sifter]

Unconventional hair color has been one of our favorite trends of 2016—it’s both eye-catching and playful, but also showcases the true artistry that goes into crafting these vibrant locks. Australian Redditor moniquey recently shared another variation on this theme with her incredible color-changing hair. One second, her locks look turquoise, while in another moment they resemble cotton candy.

Though this looks like the work of some magical hair dye, moniquey’s confounding coif is the result of a clever optical illusion. Each half of her head is a different color—when her hair is worn down the center, there are two distinct hues. But once she parts it to either the left or the right, one color is hidden while the other shines.

It offers a choice that most of us don’t have with our hair—depending on how moniquey is feeling that day, she can be pink or blue!

Moniquey: Reddit
via [BuzzFeed]

Belgian filmmaker Vincent Bal has made four feature films and numerous commercials, but the long creative process filmmaking requires often left him frustrated. Combining a love for comic strips with a bit of creativity, his quick doodles incorporating shadows have become an unexpected creative outlet. By using a variety of objects, Bal is able to find a form within the shadow cast, deftly taking his pen to fill in what’s missing.

“While I was working on a new script last April, I noticed how my teacup made a nice shadow on a piece of paper. I drew some lines on it and suddenly the shadow was an elephant,” Bal writes. “I took a pic with my phone and posted it on Facebook. Before I knew it, this pic was shared and liked as never before. I was surprised how much people liked it. Since that day I’ve been posting a doodle a day.” 

Sharing the doodles gives Bal immediate feedback that’s not possible with his films—something he finds liberating. “I have an idea, make it, and find an audience, all in less than half an hour. I love the freedom. There are no restrictions. I can just watch a shadow and see if I recognize a shape.” The sketches are light and upbeat, playing with both the negative and positive space of the shadows. Bal’s keen eye as a filmmaker comes into play, as he’s able to work out the perfect character to fit within the shadow. Thieves sneak away from the scene of the crime, fantastical monsters emerge from a leaf—it’s all possible as Bal stretches his creative muscle.

The creative filmmaker-turned-illustrator’s doodles have become so successful that he’s started an Etsy shop, where prints and postcards are available for purchase.

Vincent Bal: Website | Facebook | Instagram | Etsy
via [Colossal, Bored Panda]

All images via Vincent Bal.