My short (and sweet!) design blog is dedicated to all the designers who are featured here who have kindly let me talk about their incredible work :)
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Photographer Peter Steinhauer focuses on dense urban environments, drawing the beauty from industrial objects such as scaffolding, mesh and steel. In his 'Cocoons' project, Steinhauer has taken 100 images of bamboo-caged constructions in Hong Kong draped in vibrant mesh. ‘Cocoons' refers to the transformative stage buildings undergo when in construction —from architectural sites to brand-new buildings — and the cloaked mesh around the unfinished buildings resembles how insects cocoon themselves whilst undergoing metamorphosis.
Steinhauer uses a Phase One IQ260 medium format digital back which has a high resolution of 65 megapixels. This is attached to a Cambo WRS 1250 technical camera which is designed for photographing architecture. Steinhauer’s photographs document Hong Kong’s transforming cityscape and each of his images capture the prevalence of bamboo-based scaffolding — a traditional construction technique used throughout Asia.
Cocoons by Peter Steinhauer is published by powerHouse Books, click here to learn more about it.
Image credits: Cocoons by Peter Steinhauer is published by powerHouse Books
Ingrid Siliakus creates three-dimensional architectural models out of single sheets of white paper. Siliakus’ ‘Paper Architecture’ project features famous architectural landmarks such as Gaudi’s Sagrada Familia, and Siliakus crafts her pieces similar to how an architect plans their buildings — placing importance on constructing a two-dimensional design, then crafting the three-dimensional structure.
When designing her pieces, each structural layer is considered and Siliakus starts by building twenty to thirty prototypes before finalising the design. After the design stage is finished, Siliakus uses a combination of cutting and folding techniques — layer by layer — to build her lightweight structures (which range from 160 to 300 grams). The paper is manipulated into three-dimensional shapes such as windows, rooftops and building facades. Each architectural detail is framed with paper, which resembles the skylines of vast urban environments.
Image credit: Ingrid Siliakus
Yorkshire-based artist Pippa Dyrlaga creates detailed pictures of animals, plants and abstract designs out of plain white paper. Using a simple paper cutting knife as her artistic tool, Dyrlaga carves out the material, bringing her sculptural forms to life with her recreation of the intricate patterns found in natural forms. Dyrlaga begins her process by forming a basic layout sketch, then her work develops organically, and Dyrlaga only knows what a piece will appear will look like when its fully finished.
To view more of Dyrlaga’s work, visit her website.
Image credit: Pippa Dyrlaga
These huge patterns looks like they’re from a fairy tale, as though they’ve been carved into freshly fallen snow by magic. Designed by San Francisco-based artist Sonja Hinrichsen, these ‘Snow Drawings’ illustrate the beauty of non-permanent nature-based artwork.
With the help of a few volunteers and some snow boots as her artistic tool, Hinrichsen stomps her installations into snow, creating patterns which resemble geoglyphs, large-scale landscape works that pre-date modern history. Although captured in photographs, Hinrichsen's work reminds us how non-permanent art makes for a more sustainable environment, and her designs are more precious as we have a limited time to view them.
To view more of her work, click here.
Image credit: Sonja Hinrichsen
Patrick Dougherty creates building-like structures by weaving tree branches into architectural shapes. Initially influenced by the curved forms found in Japanese pottery, Dougherty’s whimsical creations explore what natural forms (such as branches and twigs) can be used to create. Using the simplest material in a world full of complex ones, Dougherty explores the benefit in using natural materials to enhance well-being in public spaces and to educate viewers on the importance of maintaining our natural surroundings.
To view more of Dougherty’s work, click here.
Image credit: Fancy’s Bower (2017) Montreal Botanical Garden, Montreal, QB, Canada. Photo: Pierre Charbonneau
Above the escalators of Sydney’s heritage-listed Wynyard Railway Station is a sculpture called 'Interloop'. Designed by artist Chris Fox, Interloop references the station’s architectural past, whilst celebrating its heritage.
In 2016, Wynyard Station’s wooden escalators were replaced with modern metal escalators which are less of a safety risk. As part of the $100 million redevelopments of the station, Fox took the station’s iconic timber escalators treads and transformed them into his fantastical design. Interloop took 12 weeks to construct, 48 hours to install and is five tonnes in weight.
To view more about the sculpture, visit Fox's website.
Image credit: Chris Fox.
Highlighting the importance of water conservation and rising sea levels, Studio Roosegaarde’s Waterlicht is designed as a ‘virtual flood’ to remind visitors about the importance, impact and potential of water. Waterlicht's dreamy landscape looks similar to the ethereal structure of the Aurora Borealis and last year, was cast into the atmosphere of cities all over the world, most recently appearing in Toronto to showcase the rising water levels around the city’s shoreline. Made from a combination of lenses and LEDs, Waterlicht floats upon visitors’ heads creating a sapphire layer of light which moves and fluctuates when exposed to the ever-changing elements.
To view more of the studio’s work, visit their website.
Video credit: Studio Roosegarde
German designer, Dieter Cöllen, creates cork-based models of ancient buildings, carving the material in minute detail to illustrate the splendour of ancient architecture.
Carving buildings and ruins of Roman, Greek and Egyptian architecture, Cöllens’s work has been exhibited across the globe in exhibitions, museums and private collections. His detailing of the texture of stone demonstrates how cork can be used to create exquisite models which blur the lines between art and architecture.
To view more of Cöllens’s work, click here.
Image credit: Dieter Cöllens.
Algaculture is a speculative design project by BurtonNitta exploring the relationship between humans and algae. The project envisages a future where our biology will be enhanced with algae living inside and outside our bodies, allowing us to be semi-photosynthetic. BurtonNitta envision algae covering the outside of our skin, making our physiology ‘plant-like’ by gaining energy from sunlight. Consequently, humans and algae will depend on each other for survival and develop a symbiotic relationship.
Video credit: BurtonNitta
Matt Shlian designs geometric paper sculptures which are influenced by the detailed forms of Islamic tile patterns, solar cells, music and biomimetics. Shilian uses a variety of papers depending on the project; for his white sculptures he uses an acid free paper called Foxriver Coronado, and for his coloured sculptures he uses Colorplan and Canson. He uses PVA glue and needle point dispensers which gives the paper the ability to fold. Shilan has learnt to make his sculptures by experimentation and takes things apart to then put them together again. “Getting something wrong is way more important to learning that copying something perfectly,” he says.
To view more of his work, visit his website.
Image credit: Matt Shlian
At this year’s London Design Biennale, Sweden exhibited Coal: post-fuel exploring a speculative future of coal. The project presented a future alternative use of coal, with the aim to give visitors the opportunity to see and think about the material differently. Designed by London-based designer, Jesper Eriksson, the exhibition exposed the material’s raw beauty, transforming it (from material often thought of as cheap and dirty), into one that resembles shiny black marble. Eriksson’s installation consists of furniture, floor and sculptural pieces all of which are solely made out of coal.
To view more of Jesper Eriksson’s work, click here.
Image credit: Ed Reeve
For the 2019 Venice Biennale, Icelandic artist Shoplifter (Hrafnhildur Arnardóttir) has designed a multi-sensory space in an empty warehouse which is overgrown with brightly coloured synthetic hair.
The installation called ‘Chromo Sapiens’ blurs the line between visual art, fashion and theatre; and it references Shoplifter’s interest in pop culture and rural Iceland’s tectonic beauty. The installation is made up of three different chambers; and hair tumbles down in each cave-like room, inviting viewers to critique the role of textiles in interior space.
Arnardóttir’s Chromo Sapiens is exhibited at the Venice Biennale until 4th November, 2019.
Image credit: Ugo Carmeni
Using the most meticulous precision, UK-based designer Susanna Bauer crocheters tiny patterns into dried magnolia leaves. Using a fine needle to pierce the fragile plant matter, Bauer crocheters cotton thread into the golden-coloured material either tying a couple of leaves together to create a sculpted form, or embroidering a single leaf. Some of Bauer’s embroidery resembles cobwebs, whilst others appear as part of the leaf’s skeletal structure; and her work reflects the vulnerability yet resilience of nature, and tension and tenderness of humankind’s relationship with it.
Image credit: Susanna Bauer
A.R.D Bakery is the work of London-based artist and baker, Alison Dunlop. Dunlop creates geometrical eye-popping cakes inspired by graphic design and the planets in our Universe. Crafting her architectural cakes with all things sweet, Dunlop creates colourful pom poms, crescents and spheres which she places on her hand-painted cake tiers.
To learn more about her work, visit The Jealous Curator’s website.
Image credit: Alison Dunlop
Exploring nature's ever-changing patterns and the contrast between natural and mechanical forms, Joshua Abarbanel creates wooden sculptures bursting with floral motifs. Using a laser cutter as his tool, instead of water and seedlings, Abarbanel’s curled and curvaceous earth-coloured forms looks as though they have grown organically, sprouting bark instead of petals. Reflecting both the macro and microscopic patterns found in various plant species, Abarbanel’s precisely cut layers of timber reflect the randomness, yet perfect symmetry found in natural forms.
To view more of his work, click here.
Image credit: Joshua Abarbanel
Taking his photographs 250 meters above the ground, photographer Tom Hegen has captured the detailed patterns of a frozen lake in Germany. The icy blue and white patterns and textures resemble the swirling structure of a marble surface. To photograph his abstract landscape pieces, Hegen uses a self-built drone which allows him to capture a bird’s eye view of the natural landscapes. Hegen’s book Habitat explores the geological age, documenting how humans have impacted the world's atmospheric processes and how climate change has altered the appearance of natural landscapes.
To view more of his work, click here.
Image credit: Tom Hegen
As featured in the V&A exhibition, Food Bigger than Plate, GroCycle’s Urban Mushroom Farm is an urban agricultural project based in Exeter, UK. Here, GroCycle’s team have transformed an office building into a mushroom farm, in the heart of Exeter’s city centre. The team collects hundreds of kilos of used coffee grounds from cafes in the surrounding area and uses the waste material as a fertiliser to grow oyster mushrooms. Once the mushrooms are fully grown, GroCycle delivers them to food outlets in the South West of England.
To view more about GroCycle, visit their website.
Image credit: GroCycle
Swedish photographer Gabriel Isak’s cool-coloured cryptic photographs look as though you’re peering into someone else’s dreams. His ‘psychoanalytical approach’ to photography has influenced the production of his melancholy scenes and the motionless faceless figures which haunt them. His anonymous subject’s reflect the unconscious, and his dreamy work questions the depths of existence, inviting us to reflect back on our feelings and the unconscious processes that might be driving them.
Image credit: Gabriel Isak
Diana Scherer explores humankind’s desire to control natural systems by manipulating plant roots as if they were yarn. Collaborating with material scientists and biologists, Scherer intervenes in the natural network of plant root systems to construct a textile-like material. I first saw Scherer's work at the V&A's Fashioned from Nature exhibition and I was taken a aback by the detail and originality of her project.
In constructing Interwoven, Scherer designs art nouveau-inspired patterns for plant roots to weave their way through. Scherer tests diverse plant and grass species, researching how well each species responds to her carefully constructed environment. Once the roots have woven through the design, the textile is dried, taking its final form. The natural material can be applied to interior design objects and currently, Scherer is furthering her textile research and collaborating with scientists at Radboud University in the Netherlands.
To view more of Scherer's work, visit her website.
Image credit: Anna Marks
Atelier Aitken is a design company envisioning how we can re-naturalized the earth. They've created some great projects, from tequila chandeliers to biodesign exhibitions, and their ‘futurelab’ department is developing forward-thinking solutions using biotechnology and virtual and augmented reality to address the future of our built environment. The integration of these technologies will birth developments that don’t rely on fossil fuels while harnessing living materials cultured by tissues and plants.
Projects include: bacteria activating sandstone and erosion control, living buildings with vertical food cultivation, zero carbon housing, algae processing as a food source, 3D printed modular bio-panels, chemical-free hydrogel membrane, bioluminescent lighting suspension pods. To check out all their projects click here.
Video credit: Atelier Aitken
Situated next to Eero Saarinen’s North Christian Church in Columbus, 'Synergia' is an architectural project made by Professor Jiangmei Wu and the students at IU School of Art, Architecture, and Design in Bloomington. Built as a biomimetic polyhedron with interlocking layers, the installation is made out of translucent laser cut plastic sheets and assembled similarly to the way Lego is slotted into place.
Each of the plastic sheets forms 500 polyhedrons, which are 2-4 feet long creating a hexagonal shape. A frequent aesthetic in natural designs, hexagonal shapes are found in the cells bees produce, and the compact eyes of an insect.
Image credit: Tony Vasquez
Theresa Schubert is an experimental artist based in Berlin and I'm particularly interested in her project 'Growing Geometries - tattooing mushrooms.' Here, Schubert tattooed geometrical patterns onto growing fungi, then observed how the patterns changed over time as the mushrooms grew.
The project investigates how imagery can be altered by natural processes and how the tattooed drawings change as the fungi’s membranes change. As Schubert says, "The mushrooms are tattooed when they are still small. While the fruiting body is growing, the shape of the mushroom membrane expands - hence the tattooed image changes as well." The project investigates the growth processes of our changing society- how patterns and imagery change as we do.
Video credit: Theresa Schubert
Bryan Saunders just spent the last 30 days totally blind. In his latest art project, he illustrated various abstract art pieces and self-portraits over the course of a month which depict his experience of being cast into darkness and his observations around him. His hearing became fine-tuned, his senses heightened, and his illustrations depict his boredom, frustration and his altered sense of time and space. I interviewed Bryan a while ago about his other experimental projects- check it out here