David Burdeny captures the stunning architecture of the Italian peninsula. From north to south, Burdeny’s sharp eye takes the viewer into unique spaces, some still private residences, others transformed into museums, others shuttered permanently and falling into decay. His compositional symmetry and attention to light and color betray his background as a practicing architect, as he gives value to the structure as a living, breathing figure. It’s easy to imagine the phantoms of history past floating through the scenery. You can see more of David Burdeny’s amazing images on his website, Facebook or Instagram.
In August 1992, hurricane Andrew, one of the most destructive hurricane in United States history, hit south of Florida causing major damage, in particular along the shore. After that, the architect William Lane gave to Miami 29 of the 31 lifeguard rescue towers, ones of a kind, built on the beach from South Point to 87th street. The last two were built in occasion of Miami Beach century in 2015.
These towers are characterized by unique shades that interchange pastel paint with intense dye and by an eccentric architecture that differentiate one from the others. For this reason, these rescue towers had become icons of the city and the territory.
These amazing subjects inspired me and I shoot the new series “SHAPEGUARD”, emulating the style of previous project. Also in this case, the photos of the colourful seaside building seen by a detached perspective, become minimal architectures. I choose the name “shape-guard” to create assonance with “life-guard beach towers”.
When I shoot for my projects, I image a white sheet where I draw shades and colours using my camera. Shades are the way to explore the space, releasing from their real image, to make it more emotional and aiming to decontextualize buildings from the space around. In this way the photos represent a “no place” escaped from the usual context. The towers in my project, as well as in real, are named following the numbers of the streets where they are locate in Miami Beach.
Every artist has a unique mind, and a deeply personal, often idiosyncratic studio practice. Some adhere to strict routines, and others work for weeks or months, then pause completely in order to reflect, incubate an idea, or travel and take in new experience. One way to get a glimpse into the artist’s mind, as well as into their practice is the painter’s palette – a tool that has been around for centuries, as painting itself has gone through myriads of transformations through the years. It is both practical and intimate, acquiring layers of paint as well as memories, reflecting intent and execution, storing the ghosts of paintings that have long since left the studio. The palette is the point of origin from which ideas become realized and paint is transformed into a reflection of the human experience. Whatever shape or form the surface or substrate takes, it all begins when brush meets palette.
Curated by Dina Brodsky and Trek Lexington, and featuring work by over fifty artists from around the world, the artist’s palette takes center stage as not only a point of origin but as a work of art itself. Find out more about the show here.
Ertorteguy is a New York-based Venezuelan architect and co-founder of the design studio ‘Stereotank’. his whimsical designs include a swimming pool where each lap aids in watering trees that dangle overhead, or a field of crops that can be hitched to a truck and driven away. the vignettes — although unlikely — succeed in highlighting just how dependent every-day innocuous activities are on our farming and agriculture industries, and suggest a more laid-back world where filling your grain silo is as easy as lounging on a swing chair. each dwelling bears a catchy, often quite literal nickname: the ‘solar slice’, the ‘vegetable loop’ and the ‘viaduct field’, all making an appearance.
Cute animals are the first things any beginner learns to make. Japanese artist Takayuki Hori takes his origami menagerie one step further, by imagining his paper animals as victims of urban pollution and exposing their garbage-tainted guts in X-ray-like detail.
Hori’s exhibition “Oritsunagumono” (which means “things folded and connected”) is intended as a critique of Japan’s polluted coastal waterways, which have nasty effects on the local fauna. The artist printed images of animal skeletons and discarded trash onto translucent sheets of paper, and then folded them into origami animal shapes. The results are a funereal, poignant j’accuse: mounted on frosted lightboxes in a dim gallery space like a ghostly tribunal, judging us in silence for our thoughtless consumption.
Brutalist Washington Map, Blue Crow Media’ssecond architecture guide map dedicated to Brutalist architecture, is out now.
The guide features 40 leading examples of Brutalist architecture in and around Washington, D.C., from the Hirshhorn Museum and the J. Edgar Hoover Building (FBI HQ), Dulles Airport and Georgetown’s Lauinger Library to lesser known buildings like the the Woman’s National Democratic Club Annex, National Presbyterian Church and Reston’s Lake Anne Plaza.
The reverse side of the map features an introduction to Brutalism and post-war construction in Washington, D.C. by Deane Madsen along with details for each building, and metro station, including the location, date and the architect or practice responsible.
Perfect for a walking tour or framing, this map measures slightly larger than A2 open, folds to slightly larger than A5 and is protected by a wide band.
Visual artist Adam Hillman is obsessed with aesthetics, but totally in a good way. Adam creates satisfying colorful patterns using everything from LEGO bricks, to various foods and candies.
“I’m always thinking about possible ideas, but the best photos I’ve created come about very organically,” Adam once said. “It takes an average of two hours to execute an arrangement, not including the time it takes to conceptually formulate it.” Looking at these eye-pleasing projects it seems that Hillman can transform even the most mundane objects into something truly beautiful.