Photos: Paul Warchol.
When architects design for themselves it is an opportunity to bring out that depth of vision or capricious twist that clients seldom go for. The inspirations that in this case provided the raw material for Stamberg Aferiat are all Modernist classics, that I will save to the end before revealing. Can you guess them? Read more
Images: Benjamin Rawson.
Houses as the places where we live are something that affect us all, yet remarkably few people seek to explore them in terms of what they are, what they represent, why are they arranged so.
The artist Benjamin Rawson successfully explores some of these questions in this intriguing series of images. Read more
Images: Via Bruce Silverstein Gallery New York.
Whilst the cognoscenti has always valued Chinese art, the same cannot be said for all aspects of the Western art establishment. But with the increasing prominence and power of the Chinese economy, and a more liberal political attitude to Chinese intellectual life, the country’s art is once again beginning to assert itself. As a result the salons of Europe and America have, in recent times, become noticeably less snobbish about things Chinese.
In this context the Bruce Silverstein Gallery in New York is showing an interesting collection of landscape works by the artist Yao Lu. Look closely and you will see these apparently beautiful landscapes, executed in a familiar Chinese style, are in fact collages of landfill sites! Read more
Architectural production was long since wrested from the domain of the hand drawing, much to the dismay of older architects that trained on the drawing board and never invested the time in learning CAD.
Divorced from the means of production their last refuge has been the hand sketch which they imperiously hand down to minions to work-up. All they can do is secretly regret their helplessness as their baby is taken from their creative pap to be nourished in the CAD incubator never to be directly shaped by the creator again.
Well the 3 Doodler from Wobbleworks might well be what they have been waiting for. Read more
The street artist Evol, who works in Germany, is on to something with his compelling stencilled interventions. That he uses images of an anonymous and generally unattractive kind of architecture on items of street furniture that, in themselves are anonymous, makes us think about both the architecture, and our propensity to clutter-up our streets with unattractive services enclosures.
Evol breaks society’s tacit agreement to overlook ugliness providing the object remains useful.