At Under, a new restaurant completed by architecture and design firm Snøhetta (previously), splashes of aquamarine light dance across tabletops and dishes. This greenish blue hue is emitted from a portal at the front of the space that, as its name suggests, peers underwater and into the depths of the North Sea. The half-sunken restaurant is located at the southernmost tip of Norway, with one side of the structure built into the coastline, and the other resting against the seabed.
Snøhetta Founder and Architect, Kjetil Trædal Thorsen explains that the new building “challenges what determines a person’s physical placement in their environment.” In this building,” he continues, “you may find yourself under water, over the seabed, between land and sea. This will offer you new perspectives and ways of seeing the world, both beyond and beneath the waterline.”
In addition to serving as a restaurant, the submerged building also functions as a marine research center. Interdisciplinary research teams will be invited to study the surrounding the biodiversity found along the southern coast, with the goal of building a machine learning tool that will monitor and track the species at regular intervals. Under’s design was also planned with these populations in mind. The building was built to function as an artificial coral reef, and will become integrated into the sea as limpets, kelp, and other underwater life begin to grow from its concrete shell.
The underwater restaurant opens for its first service today, and will seat 35-40 guests nightly. You can see more images from the new restaurant and learn about its menu on their website. (via Dezeen)
Share this story
The Second Annual Nuart Aberdeen Festival Activates the Scottish Town With Installations Inspired by National and Regional Themes
It was 2002 when an international group of street art and electronic music enthusiasts organized the first Nuart Festival in Norway’s oil capital, Stavanger. The idea was to create a secondary event for their music program in order to introduce some of the most interesting artists of the underground street art movement. Keeping their concept simple yet original, the festival presented an annual platform for national and international artists who operated outside of the traditional art establishment, both indoors and outdoors, to stimulate conversation that would challenge the notions of what art is, and what it can be.
It wasn’t long before the visual part of the project continued on its own and grew into what’s now widely considered to be the world’s leading celebration of street art among its peers. It was around the 15th year of the festival when founder and director Martyn Reed and his team were approached by the city of Aberdeen, Scotland with an idea to develop a similar project in their own town. After years of rejecting similar offers, the team felt a strong connection and similarities between the two oil industry-dependent cities, and in 2017 the first edition of Nuart Aberdeen (previously) was introduced to the public.
The 2nd edition of this festival was held only a few weeks ago, and once again brought the Granite City to the spotlight of the international urban and street art scene. Nuart Aberdeen invited well-established artists who first started their careers at Nuart in Stavanger, such as Bordalo II and Ernest Zacharevic, which helped introduce a wide range and vibrancy of contemporary street art to the young festival. Working with local themes and subjects, but within their individual visual languages and mediums, the international line-up of artists produced an impressive series of public murals, installations, and interventions, which brightened up the daily routines of locals, and provided a new attraction for the festival’s visitors.
Addressing themes like the relationship between UK and Scotland (Hyuro), regional history and legends (Bordalo II, Milu Correch, Nimi & RH74, Phlegm), or referring to local specifics such as the lively seagull population (Conzo & Globel; Ernest Zacharevic or Snik), the public works covered topics that locals could easily identify with and engage. And while these pieces were being created on the streets and alleys of the Grey City, selected group of academics were discussing and presenting the past, current, and possible future state of the movement, in the presence of local and international enthusiasts, fans, and members of the creative community.
Always highlighting the activism side of public art, this year’s edition included a project with Amnesty International, presenting their project in support of women human rights defenders in the UK. For this part of the project the team joined forces with “craftivist” Carrie Reichardt who designed an elaborate ceramic mosaic that celebrates Scotland’s woman human rights defenders and the Suffragette movement. The London-based contemporary ceramicist also created “We are Witches” and “Trailblazing Women of Aberdeen,” borrowing the aesthetics of traditional stain glass windows. She also helped create a public monument to local unsung heroes which was fully designed, cut, and installed by local volunteers under the stewardship of Reichardt.
Share this story
A Norwegian University Student Used a Spy Camera in This Amazing Example of 19th Century Street Photography
Fredrik Carl Mülertz Størmer is known mostly as an accomplished mathematician and physicist from Norway, but as a side hobby he was also an amateur photographer, taking to the streets of Oslo with a bulky camera secreted in his clothing to capture candid moments of unsuspecting passersby. Most of his photos were taken in the 1890s while Størmer was a 19-year-old student at the Royal Frederick University using a Stirn Concealed Vest Spy Camera, a secretive camera with a narrow lens designed to poke through a vest pocket’s buttonhole.
Størmer’s photography stands in stark contrast to portraiture of the era that consisted mainly of staid and unsmiling images against decorative backdrops. Here we see a rare view of people going about their daily lives nearly 125 years ago, often smiling and perhaps caught off guard from the young student angling for the shot. To see more of Størmer’s work head over to Norwegian Folkmuseum. (via Bored Panda)
Share this story
Dutch wildlife artist Esther van Hulsen was recently given an assignment unlike her typical drawings of birds and mammals from life—a chance to draw a prehistoric octopus 95 million years after its death. Paleontologist Jørn Hurum supplied Hulsen with ink extracted from a fossil found in Lebanon in 2009, received as a gift from the PalVenn Museum in 2014. After several millennia Hulson was surprised to find that the color had remained so vibrant, preserved all of this time in the cephalopod’s ink sac. “Knowing that this animal has used this ink to survive is absolutely amazing,” said van Hulsen of the prehistoric ink.
The idea to make such a drawing came from the story of Mary Anning, an English paleontologist and fossil collector who made a similar drawing from a fossil’s ink sac in the 1800s. Hulsen’s replication of the octopus now hangs beside its material origin in the Natural History Museum in Oslo. (via MetaFilter)
Share this story
I want to thank photographer Bard Larsen for letting me use this amazing photograph of Lake Bondhusvatnet in Norway as the background on Colossal for the month of September. The lake is in Folgefonna National Park in southern Norway and is fed by the melting water of the Bundhusbreen glacier. Larsen’s documentation of Norwegian landscapes is enough to make you whip out the credit card and buy a one way ticket.
Share this story
Three new works today from artists David de la Mano and Pablo S. Herrero who collaborated on the streets of Stavanger and Sandnes in Norway to create these lovely figures made of trees and people. The duo joined forces earlier this year in Uruguay and I’m glad to see them continuing to explore this style in other cities. Definitely check out their respective websites for more photos.
Share this story
Editor's Picks: Illustration
Highlights below. For the full collection click here.