It’s daunting to witness the labor poured into a 365-day creative project, be it taking a daily photo, doing a quick sketch, or even writing a few lines. Edinburgh-based artist Charles Young (previously) gets particularly high marks for completing his daily paper model project that he started a year ago today as a way to explore design, architecture, and model building.
Every single one of his 365 models were designed, cut, and assembled daily using 220gsm watercolour paper and PVA glue, with many of the structures incorporating moving components that Young photographed to create quick animations. The pieces are frequently infused with bits of whimsy and ingenuity, probably the result of any undertaking requiring so many different random ideas. Although he’s now stopped working, Young hopes to eventually display the cityscape somewhere in its entirety. You can find more of his paper architecture on Etsy.
Dan Pauly builds guest cottages, playhouses, garden sheds, and saunas all appearing to be perfectly suited for an enchanted forest. The small, asymmetrical buildings have a long slanted roof, crooked chimney, and charming front window with built-in flower box. Each cabin designed by Pauly and his company The Rustic Way is built with reclaimed wood, each piece restored to reflect its natural weathered condition.
Pauly’s woodworking history goes back four generations, back to the 1800s when his family emigrated to the US and built several barns in Minnesota (some of which are still standing). This history is embedded into Pauly’s fascination with reclaimed wood. “As I uncover an old barn or shed,” Pauly says, “I realize that it could be the same lumber that my great-grandfather used more than 100 years ago. I think that respect for the craftsmen and craftswomen of the past, and for the wood they used, make a difference in each new piece I create.”
You can see more of Pauly’s cabins on The Rustic Way’s Facebook page. (via Twisted Sifter)
Trying to pin down exactly what makes these urban landscape paintings by British artist Nathan Walsh (previously) so unusual is difficult, in part because of the variety of techniques he employs to get from a vision in his mind to the final, exacting artwork.
Starting with his own photographic references, Walsh first draws an elaborate blueprint of sorts by establishing a horizon line and a host of perspective strategies that varies from piece to piece. This is followed by several months of painting with oils to achieve the final landscape that appears to be a strange hybrid of both illustrative and photorealistic styles. Photography, architecture, and painting converge to create a “painted world which in some ways resembles the world we live in,” says Walsh. “The work aims to create credible and convincing space which whilst making reference to our world, displays its own distinct logic.”
Walsh is currently preparing for a group show titled “Cityscape Paintings: Looking from the Outside In” at Bernarducci Meisel Gallery in October, followed by a solo show during the same period in 2016. You can follow more of his work in progress on Facebook.
Artist Calvin Seibert (previously) recently completed a new series of his geometrically precise sand castles on the beaches of Hawaii. A professional sculptor, Seibert seems to borrow angular ideas from Bauhaus architecture or the flair of Frank Gehry. How he’s able to control the sand so perfectly is anyone’s guess, it certainly puts my traditional upside down bucket method to shame. You can see more of his work over the last few years here.
For his ongoing series The Fourth Wall, Hamburg-based photographer Klaus Frahm shatters the illusion of stagecraft by taking us behind-the-scenes of several European theaters. Shot from the vantage point of the stage looking toward the audience, the photos reveal the stark contrast of ornate auditoriums and the technological scaffolding that facilitates a major theatrical production. Frahm captures the elaborate configurations of lights and the surprising enormity of the fly space hidden just behind the red curtain that can be up to three times larger than the seating area.
Frahm says the intention behind his photography “is to give way for a new perspective, to entertain, to offer a fresh sight on familiar things,” and to “reveal something laying under the surface.” The Fourth Wall project began in 2010 when he was documenting a new theater for an architect which involved a series of shots facing the wings and other angles from the stage. When reviewing his polaroids later that day he was immediately struck by the image-within-an-image contrast of the warm, fully-lit theater seats and the cold, hidden infrastructure. Klaus had ingeniously turned the tables: suddenly the audience was the spectacle and the stage was reality.
You can see more from the Fourth Wall series on Fram’s website. If you enjoyed this, also check out the work of David Leventi. (via It’s Nice That, thnx Kevin!)
Located in the same island country that the Lord of the Rings trilogy was filmed is a structure that, like the hill-secured homes of the hobbits, also seems to hide within its natural environment. The Tree Church is formed almost entirely from living trees with thick leaves covering its shady interior. The New Zealand-based church can seat a hundred people and was first planted by Barry Cox on his property near Cambridge beginning in 2011.
The original inspiration behind the structure was a means for Cox to “retreat from society.” However, after others caught word of his living church as it grew into completion over the last 4 years, he decided to open it and the surrounding gardens for public and private events. The Tree Church is now set within three acres of extensive shaded gardens, including a labyrinth walk based on the ancient city of Jericho from 460 BC.
An iron frame is at the core of the church, as Cox wanted the walls and roof of the natural building to be distinctly different, “just like masonry churches,” he said. Cut-leaf alder was chosen for the roof as it is flexible enough to be trained over the frame which will be removed when the branches become strong enough to support the church themselves. (via Faith is Torment, Inhabitat)