Karen Lynch is an Australian artist, focussing on hand-cut vintage paper collage. She sources material from vintage magazines, catalogues and books. Architecture, nature, space and time are common elements within her visual dialogue. Central to her art is the resuscitation and transformation of pieces of the past into retro-futuristic or surreal landscapes.
Obsessed with color and geometry, Karen’s collages can be playful, often tell a story and try to inspire the viewer. Using old school scissors and glue, Karen creates surreal and retro-futuristic worlds using vintage magazines and books found at thrift stores and markets. She loves the process of juxtaposing 2 or more disparate images and transforming them into impossible landscapes that feel almost real.
German graphic designer Timo Lenzen makes posters and cover design with a personal language that mixes references from different epochs and styles. His simple and direct 3D drawings play with pure forms or simple architectural references transforming them into visual presences with a surreal touch.
With his subtle designs, that are always on point, Timo creates sometimes abstract, sometimes disturbing and always visually stimulating moods. In both his applied as well as his purely Graphic Arts you’ll be absorbed by the worlds he creates.
The San Francisco Museum of Modern Art got a major facelift in the last 3 years it has been closed for expansion. SFMOMA reopened on May 15th, 2016 boasting 7-stories of exhibition space, thousand of new works and a total of 10-stories of architectural delight. The museum is now the largest in the Bay Area with 460,000 square feet dominating the land, and the largest modern and contemporary art gallery in the nation.
The expansion started with 1,100 works loaned by the famous Fisher family who founded Gap. The museum now holds over 4,000 new works including artists Pablo Picasso, Jasper Johns, Ed Ruscha, Diane Arbus and Robert Rauschenberg. You’ll also find your old favorites like Matisse and Rothko from the Permanent collection.
Grab a ticket and explore the wonders of the new SFMOMA.
Fabiola Morcillo is an architect and illustrator based in Chile. In 2014, she started her project called 1989, which includes her illustrations created using AutoCad. Morcillo mixes isometric views and penchant for Japanese architecture with a little pop culture and fantasies.
Matthew Simmonds sculpts miniature architectural structures from raw stone. Part of his interest in producing these pieces is centered around the contrast between the carved precision of his hand against the rough nature of the natural material he chooses for each work. The pieces’ concept also deals with this human influence on raw environments, humans physically displaying their beliefs and achievements by building large physical forms.
Filip Dujardin became interested in architectural photography because of the inherent sculptural qualities of building forms. With such purity of purpose, it seems logical that Dujardin began creating digital architectural sculptures of his own, unfettered by client whims, economic constraints or the laws of physics.
Though Dujardin’s photographs provide the building blocks for his work, the end result are fantastical, Photoshopped constructions depicting nonsensical or even impossible architecture.
In “NHDK,” artist Victor Enrich takes a single image of the NH Deutscher Kaiser Hotel in Munich and re-imagines it in a variety of different ways. Some changes are subtle, with Enrich simply adjusting the size or arrangement of the building, while adhering to basic architectural constraints. Others are absolutely mind-bending.
A group of interior architecture students have built king-size wooden megaphones deep in the woods in Estonia. It is a large scale acoustic installation that amplifies the sounds of the forest.
Interior Architecture students at the Estonian Academy of Arts have conceived the idea of a forest library near RMK’s Pähni Nature Centre, where the quiet sounds of chirping birds and rustling leaves are amplified to surrounding site visitors.
The installation blends contemporary architectural space and wilderness and is accessible for hikers and nature lovers for free. The objects were placed at such a distance and angle that the sound feed from all the three directions creates a delicate unique sound at the very centre.
The interventions, titled ‘Ruup’, span three meters in diameter, offering those seated and lying within ample space for reading or resting. Additionally, the conical shapes offer potential shelter for a wanderer or modest hiker to spend the night, as well as provide a platform for outdoor classrooms, small-scale cultural events and concerts.
German graphic artist Matthias Jung creates collages of fictional structures that seemingly turn the logic of architecture upside down. On trips around Europe, Asia and North America, Matthias Jung photographs the expansive surroundings and the built structures that occupy the vast landscapes.
Buildings sprout mountains populated by livestock, homes hover in mid-air, and contrasting architectural styles are fused together in strangely harmonious ways like something straight out of a Terry Gilliam movie.
Using these personal pictures, Jung stretches reality by collaging several elements of the images together to form phantasmagoric architectural compositions. The ongoing project sees a dreamlike environment categorized by floating buildings, houses set atop rotating wheels and façades tethered to the earth, hovering somewhere between fiction and reality.
The Cathedral of Strasbourg in France finds itself in the Alaskan landscape, while houses and churches from the cities of Wismar and Stralsund in northeastern Germany are re-situated in the Gobi Desert. He calls his creations ‘architectural short poems’, that aim to visualize another perspective on how we could see the world and live in it.
“The composition of the individual elements correlates to a logic, as if in a dream. In order for my work to function properly, I also have to consider design rules. Thus, the relationship between order/disorder and homogeneity/diversity must agree. A building has to first be stable and credible before I can add some ‘disorder’, to let it fly for example. One such disorder refers to another, only hinting at reality. I weave, so to speak, spiritual realities into everyday things.”
Just outside the Polish capital of Warsaw, Marcin Tomaszewski of local architecture practice Reform has created a dwelling that appears to float amid its woodland setting. Planted between the trees, the ‘Izabelin House’ exterior design heavily features a mirrored facade which clads most of the lower level, giving the illusion that the upper half of the home is floating in mid air above the forest bed.
Formed of two horizontally configured volumes, the home’s lower storey is clad with reflective paneling. Consequently, these mirrored surfaces appear as an extension of the forest floor, with opaque areas stacked above. Large apertures present sweeping views of the property’s surroundings, while the design also comprises an area of sheltered decking at ground level.
The architect’s biggest challenge will be to preserve the existing trees which are currently located on the planned construction site. Furthermore, they will need to figure out a way to prevent birds from flying into the home’s highly reflective exterior surface.