sssrslyyy

[sssrslyyy]

Peter Grundmann - Neiling II low budget house, Hoppenrade 2016. Via baunetz, photos © the architect. 

#amazing

[sssrslyyy]

[sssrslyyy]

Wout Berger

[sssrslyyy]

KATE JACKLING

http://katejackling.com/babinets-playground/apz27n52ho4ud70kqcxlsdjw3fzgun

[sssrslyyy]

[sssrslyyy]

[sssrslyyy]

STIG LINDBERG, Domino vase (1955). Manufactured by Gustavsberg Ab, Sweden, material stoneware with black and white glazing.

[sssrslyyy]

Tom Sachs - Donald Judd hacked chair [fiberglass and epoxy resin on IKEA furniture particleboard, 2009] 

[sssrslyyy]

Carlos Amorales Coal Drawing Machine, 2012 Installation: machine, coal, steel, epoxy paint and paper banners all text and images found via the artist’s website, more information :estudioamorales.com

Exhibited for the first time in a former coal mine in Belgium, at Manifesta 9 “The Deep of the Modern”, this paper labyrinth generates from the output by a machine which draws with coal. By making an analogy between the mine’s excavated underground and Hell, the drawings are repetitive patterns of magic symbols that can invoke demons but which also are considered to be the predecessors of the electronic circuits that are in use today. The machine functions through the span of the exhibition, it’s output accumulating day after day. The Coal Drawing Machine, an installation, questions the tension between the hand made quality of the traditional coal drawings and the fact of these being industrially produced by a machine. It is a piece that recalls the myth of robots and machines becoming sensible, as for instance in the novel “Do Androids Dream of Electric Sheep?” by Philip K. Dick, later filmed as “Blade Runner”.

[sssrslyyy]

[sssrslyyy]

[sssrslyyy]

http://studio.tompregiato.com/noise

[sssrslyyy]

Niall McLaughlin, Fishing Hut, Hampshire, 2015

www.niallmclaughlin.com/

[sssrslyyy]

Invisible Cities. Architecture of Exodus Marco Tiberio

When we talk about the recent refugee crisis in Europe, the lack of different languages is giving back rather a sterile and standardised information where the “interesting” is represented by what people wants to see: most often, grieve and poverty. As a new European social class, refugees - especially non-Europeans - deserve a much deeper analysis than the one that has been carried on until now. 

With this project, presented in rather a serial and cold manner, but which hide hours and hours of conversations with the refugees, I want to analyse immigration from a different perspective, because behind a simple house made of wood and plastic, there is much more than we expect.

Images and text via Marco Tiberio

[sssrslyyy]

[sssrslyyy]

Aurelio Galfetti - Restoration of Castelgrande, Bellinzona 1981. Via, 2, 3, 4, 5, photos © Stefania Beretta, Christof Wittig, Steve/flickr.

[sssrslyyy]

AFF Architekten - Freudenstein castle renovation, Freiberg 2010. Photos ©  Hans Christian Schink.