Created in 2009 by Japanese artist Aki Inomata, these fantastic little cityscapes atop hermit crab shells were part of a body of work titled “Why not hand over a shelter to hermit crabs?.” Keeping the welfare of the animal in mind, Inomata studied the needs of the hermit crab to select a compatible shell and used a CT scanner to image the interior of sea shells so she could adapt her own miniature sculptures into suitable homes. The small buildings and skylines were then designed atop the plastic shell forms to mimic the architecture of various cities including New York, Tokyo, Bangkok and elsewhere.
As hermit crabs outgrow their shells it becomes necessary to find a new, larger home. With this project Inomata hoped to draw a parallel to our own need as humans to migrate or find shelter in a new city. Photographs of the final works were on display at Ai Kowada Gallery. (via designboom)
Recently installed at the Palais de Tokyo in Paris, this gigantic Gordian Knot was constructed by Brazilian artist Henrique Oliveira who is known for his near complete organic transformations of interior and exterior spaces. Titled Baitogogo, the work depicts an architectural grid of columns and support beams that seem to morph into a chaotic tangle of branches or roots. Via the Palais de Tokyo:
Through a kind of architectural anthropomorphism, Henrique Oliveira reveals the building’s structure. At Palais de Tokyo, he plays on the space’s existing and structuring features, prolonging and multiplying pillars in order to endow them with a vegetable and organic dimension, as though the building were coming alive. The artist draws inspiration from medical textbooks, amongst others, and particularly from studies of physical pathologies such as tumors. Through a formal analogy, these outgrowths evoke the outermost layers of the bark of a common tree.
The Reading Nest is a new site-specific installation by artist Mark Reigelman outside the Cleveland Public Library. Reigelman obtained 10,000 reclaimed boards from various Cleveland industrial and manufacturing sites and worked with a team of people over 10 days to construct the nest which was completed earlier this month. From his statement regarding the project:
For centuries objects in nature have been associated with knowledge and wisdom. Trees of enlightenment and scholarly owls have been particularly prominent in this history of mythological objects of knowledge. The Reading Nest is a visual intermediary between forest and fowl. It symbolizes growth, community and knowledge while continuing to embody mythical roots.
Like a mountain chapel or Thoreau’s one-room cabin, Solarium references a tradition of isolated outposts designed for reflection. Each of the 162 panels is made of sugar cooked to different temperatures and then sealed between two panes of window glass. The space functions as both an experimental greenhouse, growing three species of miniature citrus trees, and a meditative environment. In warm months, a 5×8 ft panel on each side of the house opens up to allow viewers to enter and exit the house from all directions. In addition to creating a pavilion like environment, this design references the architecture of a plant leaf, where the stomata opens and closes to help regulate the plants temperature.
Lamson spent weeks testing methods for building the windows and you can watch his process in the video above by Kate Barker-Froyland. See many more views of the building here. All imagery courtesy the artist. (via architizer)
Update: Solarium was deinstalled at the end of 2012 and is no longer on view.
Something’s up in Provo, Utah and it weighs around seven million pounds. It’s the 112-year-old exterior of the Provo Tabernacle that was severely damaged in a 2010 fire but has since been saved by the LDS church so it can be converted into a temple. Engineers first gutted the damaged interior and then supported the exterior walls with special scaffolding as they dug down to create space for a two story basement, so in actuality the building hasn’t even moved. The entire structure is now on stilts some 40 feet in the air and from some angles appears to be floating above ground, such as in the first photograph above provided by Brian Hansen. Additional photos courtesy the LDS Newsroom.
Designed by Italian firm Act Romegialli Architects, Green Box is a small camouflaged garage for a private residence situated on the Raethian Alps. While the interior is organized into a gardening room, cooking area, and a small dining/hang out space, it’s the exterior that makes this contemporary hobbit home pretty remarkable. The architects created a lightweight skeleton of galvanized metal and steel wire for the sole purpose of promoting a habitat for climbing vegetation. From a distance only a glowing light would suggest the space was even habitable. I could write Colossal from a space like this for an extremely extended period of time. See more photos over on iGNANT.
The Thorncrown Chapel in Eureka Springs, Arkansas is considered one of the crowning examples of organic architecture, a philosophy credited to Frank Lloyd Wright that promotes a harmony between the natural world and human habitation. The non-denominational chapel was designed in 1980 by an apprentice of Wright’s, architect E. Fay Jones, who employed the use of steel and glass to create a weightless, almost translucent structure that offers sweeping views in all directions of the surrounding Ozark habitat. In keeping with the organic design of the chapel Fay asked that no construction element be larger than what two people could carry through the woods by hand.
Recently a power company has applied to build a 48-mile high voltage transmission line through Northwest Arkansas that will cut through the woods right next to the chapel, shattering the views and serenity offered by the extremely unique building that was placed on the National Register of Historic Places in 2000. For those interested, the Arkansas Public Service Commission is accepting comments from the public regarding the proposed power line construction. You can also read much more over on Hyperallergic.