Oliver Shou is a talented young self-taught photographer, roofer and traveler from San Francisco, California. Oliver shoots a lot of urban, cityscapes and rooftop photography. He focuses on geometrically fascinating environmental portraits. Shou currently based in Shanghai, from where he shares incredible rooftop photographs on his Instagram.
The population of Canamares in the Spanish province of Cuenca lingers at just below 600, but for five months each year, it transforms into a dreamscape of red and orange. Wicker, or mimbre in Spanish, grows in bamboo-like stalks from November until May.
featureshoot found these exquisite photographs of wicker cultivation in Canamares in Offset’s rich collection of photography, and yearned to know more about the history of the forgotten basket makers. The dearth of information we were able to uncover speaks to the diminishing role of natural wicker, which takes more effort to maintain than the popular synthetic versions.
The wicker of Canamares harkens back to a time when artistry took precedence over convenience. Wicker is an ancient material, dating back to ancient Egypt. It was so precious, in fact, that the pharaoh Tutankhamun was buried with wicker furniture.
The Courthouses by Hashim Sarkis Studios consists of four single-family houses on the coast of Aamchit, Lebanon as well as the rehabilitation of the existing landscape and old houses. The site slopes west towards the Mediterranean, its angle allowing for embedding the houses in the landscape in such a way that the front is open to the view and breeze whereas the other sides of the house are protected by earth. Each house consists of a double-layer wall that retains the earth from the east and slopes with the land north and south.
The framing/retaining wall is doubled to create insulation and service passage against the soil’s humidity and to draw in cool air into the house. The double perimeter wall also works as a structure and is used for all the services of the house, leaving the ground floor open. A courtyard is inserted in the back to enhance cross ventilation and create a microclimate in the extreme days of summer and winter.
A tower that houses the bedrooms is placed at the southeastern side of the courtyard to provide shading. It works as a chimney to release the heat from the courtyard and the bedrooms. The stair and bathrooms are located at the east and south side to provide a thermal mass against the summer heat while the northwest corner is completely clear of structure, turning the bedrooms into balconies when the windows are open. The combination of the courtyard and tower produces a new house typology that is used with degrees of variation on the site as the development grows around its common facilities and the sea.
These works attempt to bring to life certain scarce moments when time temporarily comes to a standstill, environments charged with anticipation and emptiness, ambiguous places with a sense of purpose that is not yet revealed, or landscapes that create pauses out of sync with the rest of the world.
Estúdio Penha’s new space for AKQA is intended to supplement the global digital agency’s São Paulo office. AKQA Casa is a venue for events, lectures, performances, exhibitions and dinners. The Brazilian architects have placed an emphasis on domestic scale and character, creating a space that includes a garden and patios, with an elaborate collection of brise-soleil formed from vintage iron gates and railings.
This collection of recently completed new work by Julie Boserup was commissioned by Sous Les Etoiles Gallery in New York, and is the first ever artist commission by the gallery. This exhibition was also made possible with the support and assistance of the Museum of the City of New York, whose famed Wurts Brothers Collection served as the initial structure for Boserup’s unique series of large-scale collages.
Inspired by the Wurts Bros.’s novel technique of aligning ground level shots of skyscrapers with images taken from the upper levels of a nearby building, Boserup adds found images, drawing, geological images and her own photographs shot in the streets of New York to an enlarged digital print from the archive. Whereas Lionel Wurts chose his technique of combined images to compensate for the misleading perspective of the bystander’s view, Boserup crafts new visions of the historical document in order to add layers of meaning, mingling both the familiar and fantastical. The NYC-specific series also features early 20th century documentation of the unfinished Queensboro Bridge, culled from the archives of the New-York Historical Society.
Perspective of the Regular Solids: that is, a diligent exposition of how the five regular solids of which Plato writes in the Timaeus and Euclid in his Elements are artfully brought into perspective using a particularly new, thorough and proper method never before employed. And appended to this a fine introduction how out of the same five bodies one can go on endlessly making many other bodies of various kinds and shapes.