Jesse Bransford

Jesse Bransford, Spirits & Intelligences: Mercury, 2007, 65x41”, Acrylic, watercolor and graphite on paper.

Jesse Bransford, Friendship 7 (8), 2007, 75x47”, Acrylic, watercolor and graphite on paper.

Jesse Bransford, Gravity Well (Mercury), 2007, 23.5x15”, Acrylic, watercolor and graphite on paper.

Jesse Bransford, Installation View of Transmission (111+65 - 260 - 369+175 - 34-15), 2007

Jesse Bransford, Installation View of Transmission (111+65 - 260 - 369+175 - 34-15), 2007

Le dessin prend l'espace.
The drawing takes space.

Sources: Dear Ada, Jesse Bransford

Musashino Plateau - Nobuo Takahashi

Musashino Plateau - Nobuo Takahashi

Sources: Gumod

Tobias Putrih

Tobias Putrih, Heaven #2: as seen from above, 2002

Tobias Putrih, Heaven theater #1: a study of fuller's cloud nine project, 2002

Tobias Putrih, SpaceScripSet 1 2007

Tobias Putrih, Macula serie B, 2006

Tobias Putrih, Blueprint of a base camp on remote territories, 2001-2002

Réflexion sur le territoire de l'art...
Reflexion on the territory of art...

Sources: Any, Max Protetch

Chris Jordan

Chris Jordan, Container yard 1, seatle, 2003

Chris Jordan, Container yard 2, seatle, 2003

Chris Jordan, Shipping containers (detail), 2007, 60 x 100''

Chris Jordan, Plastic bags (partial zoom), 2007, 60 x 72 ''

Chris Jordan, Plastic bags (detail), 2007, 60 x 72 ''

J'aime le travail de cet artiste. Beaucoup de photographies intéressantes sur son site internet.
I like the work of this artist. Many interesting photographs on his website.

''Exploring around our country’s shipping ports and industrial yards, where the accumulated detritus of our consumption is exposed to view like eroded layers in the Grand Canyon, I find evidence of a slow-motion apocalypse in progress. I am appalled by these scenes, and yet also drawn into them with awe and fascination. The immense scale of our consumption can appear desolate, macabre, oddly comical and ironic, and even darkly beautiful; for me its consistent feature is a staggering complexity. ''

Sources: Inhabitat, Chris Jordan

Chen Wei

Chen Wei, Countless Unpredictable Stand 1, 2006 — featured in 3030: New Photography In China

Juste une image...
Just an image...

Sources: Flak Photo

Gotz Deirgarten

Gotz Deirgarten, o.T.(Düsseldorf 4), from Fassaden II, 1999

Gotz Deirgarten, o.T.(Pirmasens 2), from Fassaden II, 1999

Gotz Deirgarten, o.T.(Gießen 5), from Fassaden VII, 1997

Gotz Deirgarten, o.T.(Dreisen I), from Fassaden I, 1998

Portes et fenêtres...
Doors and windows...

Sources: Dear ada, Rose Gallery

Echo Eggebrecht

Echo Eggebrecht, The Gravity, oil on panel, 2006

Echo Eggebrecht, The site, oil on panel, 2006

Echo Eggebrecht, Snake in the grass, acrylic on panel, 2004

Echo Eggebrecht, Barnswallow, acrylic on panel, 2006

Belle réflexion sur le site et le paysage.
Beautiful reflexion on the site and the landscape.

Sources: Dear ada, Nicole Klagsbrun

Christian Hellmich

Christian Hellmich, oil on paper, 2006

Christian Hellmich, Ruckwand, oil on canvas, 2006

Christian Hellmich, Ohne Titel 3, oil on canvas, 2006

Christian Hellmich, Ohne Titel 5, oil on paper, 2006

Christian Hellmich, Treppe II, oil on canvas, 2006

J'aime ces tableaux d'architectures.
I like these architectures paintings.

Sources: Moon River, Lehmann Maupin

Polish Pavilion Expo 2010

Wojciech Kakowski, Natalia Paszkowska et Marcin Mostafa ont été choisis pour concevoir le pavillon polonais à l'Expo 2010 de Shanghai.

Architecture de dentelle.
Structure of lace.

Sources: Architecture popflower, Une brique rose de plus, Polish Pavilion

Jim Denevan

Magnifiques dessins dans le sable...
Splendid drawings in sand...

''Jim Denevan makes freehand drawings in sand. At low tide on wide beaches Jim searches the shore for a wave tossed stick. After finding a good stick and composing himself in the near and far environment Jim draws-- laboring up to 7 hours and walking as many as 30 miles. The resulting sand drawing is made entirely freehand w/ no measuring aids whatsoever. From the ground, these drawn environments are experienced as places. Places to explore and be, and to see relation and distance. For a time these tangible specific places exist in the indeterminate environment of ocean shore. From high above the marks are seen as isolated phenomena, much like clouds, rivers or buildings. Soon after Jim's motions and marks are completed water moves over and through, leaving nothing.''

Sources: Gumod, The art of Jim Denevan

Abigail Reynolds

Abigail Reynolds, Mont Fear statistics for crimes with offencive weapon South London, 2002

Abigail Reynolds, Mont Fear statistics for crimes with offencive weapon South London, 2002

Abigail Reynolds, Mont Fear East London, 2002-3

''The terrain of Mount Fear is generated by data sets relating to the frequency and position of urban crimes. Precise statistics are provided by the police. Each individual incident adds to the height of the model, forming a mountainous terrain.All Mount Fear models are built on the same principals. The imaginative fantasy space seemingly proposed by the scupture is subverted by the hard facts and logic of the criteria that shape it. The object does not describe an ideal other-worldly space separated from lived reality, but conversely describes in relentless detail the actuality of life on the city streets.''

Abigail Reynolds, Shape shift landscape in Motion, 2007

''This artwork takes the geology of the Jurassic coast – 185 million years of the earth’s history – as it’s starting point. To create this sculpture, visual artist Abigail Reynolds worked with two scientists; Sam Gibbs, a micropalentologist from Southampton Oceanography Centre, and mathematician Bjorn Stanstede from the University of Surrey. Together with a small group from the local community they considered the landscape around Durlston Country Park.''

Paysage en mouvement...
Landscape moving...

Sources: Vvork , Abigail Reynolds

Michel de Broin

Michel de Broin, Black Whole Conference, 2006

“The installation consists of a large sphere composed of an assemblage of chairs. The legs are attached to one another, bringing the chairs together. In this spherical conference room there is no central position, all the chairs float in solidarity with each other. They operate as an immune system – protecting themselves by blocking and kicking out their surroundings. As a massive object in the gallery space, the sphere acts as a centre of gravity around which the rest orbits. The reorganization of matter derives from a ‘big bang’ where the ancient order of the conference room has blown out and reconfigured into a ‘utopic’ geometrical endosystem.”

Intrigante planète...
Scheming planet...

Sources: Any, Michel de Brouin

Camille Gallet

Camille Gallet, Dépliant à 17 faces, présente une sélection de projets de l'architecte Emmanuel Gallet. Au recto les photos des réalisations, au verso une description des projets accompagnée de schémas.

Dépliant très inspirant!
Unfolding very inspiring!

Sources: Many Stuff, Camille Gallet

Tania Mauraud

Tania Mauraud, WYSIWYG, 1989, Exposition La force de l'art, nef du Grand palais, photo Thierry Depagne

Tania Mauraud, How can you sleep, installation permanante, vue du FRAC Loraine

Motif dans la ville...
Pattern in the city...

Sources: Vvork, Tania Mauraud

Mass Studies Architects

Ann Demeulemeester Shop in Seoul, Mass Studies Architects

Architecture de végétation.
Structure of vegetation.

“This proposal is an attempt to incorporate as much nature as possible into the building within the constraints of a low-elevation, high-density urban environment of limited space. The building defines its relationship between natural/artificial and interior/exterior as an amalgamation, rather than a confrontation.

The outside building material is primarily a geotextile planted with a herbaceous perennial to form a living façade, while the other three sides that face bamboo borders are clad in steel sheets are finished with propylene resin.”

Sources: Offbeat home, Contemporist, Mass Studies