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  • Wooden Observation Platform

    Wooden Observation Platform

    Designed by Latvian studios Didzis Jaunzems and Laura Laudere in collaboration with Jaunromans un Abele, the wooden observation platform and pavilion are located in the Garden of Destiny, a park designed to celebrate the country’s 100th birthday in 2018 and to pay tribute to all the losses from the last century.

    Almost entirely built from larch, the structure appears in the heart of a memorial park in Koknese, Latvia and offers an amazing view across the River Daugava.

    Each plank was milled to create fine ridges, intended to prevent visitors slipping when the floor is wet.

    The wood was also glazed at the front of the pavilion to offer shelter from strong winds and rainfall. By using the natural incline, the architects could build a pavilion that is partially buried beneath the ground. The sloping roof provides an elevated deck so visitors can walk over to enjoy the landscape, while the surrounding terrace merges into a balcony across the water.

     

  • Fashion Campaign Shot By A Drone

    Fashion Campaign Shot By A Drone

    The fashion campaign for Craig Green’s AW16 collection is shot by a drone.

    Reminiscent of a documentary shoot rather than fashion commercial, the campaign shows all 30 looks from the designer’s AW16 collection. It is presented in a series of six images showing each different group of models, flipping through the changing moods of the collection.

    Centered around workwear, utility, and uniforms, the garments reflect Green’s both romantic and futurist style.

    The images, taken by a painfully automatic tool, are nevertheless painterly and dreamy, opening a new way of fashion image-making. Green described it in an interview as stated here below.

    “I thought there was something quite great about them looking almost like National Geographic – scientific and cold in some ways, the image is so romantic of all the boys together.”

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    All images © Craig Green

  • 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.

    Art_Yayoi Kusama-GlassHouse_SteelBalls_14 Art_Yayoi Kusama-GlassHouse_SteelBalls_08 Art_Yayoi Kusama-GlassHouse_SteelBalls_13 Art_Yayoi Kusama-GlassHouse_SteelBalls_06 Art_Yayoi Kusama-GlassHouse_SteelBalls_12 Art_Yayoi Kusama-GlassHouse_SteelBalls_11 Art_Yayoi Kusama-GlassHouse_SteelBalls_10 Art_Yayoi Kusama-GlassHouse_SteelBalls_02 Art_Yayoi Kusama-GlassHouse_SteelBalls_01 Art_Yayoi Kusama-GlassHouse_SteelBalls_03 Art_Yayoi Kusama-GlassHouse_SteelBalls_04 Art_Yayoi Kusama-GlassHouse_SteelBalls_05 Art_Yayoi Kusama-GlassHouse_SteelBalls_07

    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.

  • Daniel Buren’s Observatory Of Light

    Daniel Buren’s Observatory Of Light

    The Louis Vuitton Fondation in Paris is currently showing a temporary work by french artist Daniel Buren, a representant of conceptual art.  “Observatory of Light” is a translucent and multicoloured chess pattern, installed across the glass sails of the Museum’s building designed by Frank Ghery.

    12 sails formed of 36.000 pieces of polychrome glass show the building in a new light. The 13 colours make forms appear and disappear, depending on the time of day and season. Since the 1960ies, Daniel Buren uses vertical stripes which he calls “visual tools”, alternating white and colour, to draw attention to buildings or context.

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    All images © Fondation Louis Vuitton

  • 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