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.
Photographer Jeffrey Milstein captured these stunning aerial shots of New York from a helicopter hovering above the city. The collection includes birds-eye shots of New York City’s most recognizable landmarks, including the Metropolitan Museum of Art, Times Square and the Statue of Liberty.
Locals in Willow, Alaska refer to this towering building as the “Dr. Seuss House”, as the design very closely resembles structures you may see in Theodor Seuss Geisel’s illustrated storybooks. The building is believed to have been built by the original owner soon after a forest fire, and had a clear view of Denali National Park and Mount McKinley. When the surrounding trees recovered and started to grow, the view was obscured. The owner added a few more stories, and then continued adding floors for about a decade until it reached the 12 story building still standing today.
The building had been abandoned, but now has a new owner who has started renovations. Photographer Jovell Rennie recently visited the ‘Dr. Seuss House’ and captured these images of the tower.
The installation Fundamentals: Form-ContraForm explores the experience of mass and its space around it. The installation is designed to provide an experience that is not bound by the physical limitations of a space and give the illusion of space that is extended beyond its tangibility. To do this they hung a series of 14,000 white spheres that loosely formed a cube of 2,4 x 2,4 meters hanging on a wire grid of 10 x 10 cm. The cube is optically present in the room, and inside the cube, a cavity is created where visitors can enter. When one is standing inside the cavity, they are surrounded by a cloud of spheres that create the illusion of infinite space.
Internationally recognized artist, Henrique Oliveira poses a poetic discussion of history of architecture, of shelters and caves of the past by a challenging installation occupying 1600 m² building with strong brand of modern sculpture Niemeyer at MAC USP, Brazil.
The giant snaking columns designed by the architect curve through the space creating caverns, pathways and obstacles for the audience. Transarquitetônica of Henrique Oliveira is not just an installation, but commands itself as a place, a route with multiple possibilities that ends where it began. It is a work of architecture that combines sculpture and painting, offering various stimuli that the visitor gets to go to work.
The exhibition remains until November 30, open to the public on Tuesdays from 10 am to 21 pm and Wednesday through Sunday from 10 to 18 hours. Admission is free so be sure to check it out if you’re in Sao Paulo for the World Cup 2014: