Alexschi - White.wine

Buster gets a taste of the good life in Hard Luck (1921).

Thewolfe Jim window 3, 2011

The City: A Formalist View of American Urban Architecture William W. Fuller

A 35 year photography project on architecture in great American cities culminates in the first book of William W. Fuller fine-art large format B&W work. His work captures the urban thread of our cities in clean black and white images, emphasizing the play of light and dark, texture and patterns, building and sky. 

Images via text via

work in progress. atelier: 4.35h da manhã. 

projecto parcial de centro de interpretação do Aqueduto das Águas Livres. Monsanto.

por Tiago Sá Gomes 

Sunday Dalí: The Phenomenon of Ecstasy, 1933. Collage.

From Ego Is A Rat On A Sinking Ship:

The woman sought by the Surrealist, then, was not conceived of as one who would avoid exploitation at all. It was just that Surrealism offered what it thought was an alternative exploitation to that of bourgeois society. One expression of this alternative can be seen in Salvador Dalí’s Phénomène de l’extase, a collage showing various enraptured female faces, many of which were taken from Charcot’s photographs. The image originally followed a text by Dalí on the apparently irrational component of art nouveau architecture, parts of which alluded to sculptural details of girls and angels in rhapsodic abandon on the buildings of Antoni Gaudí. “Continuous erotic ecstasy,” wrote the artist, leads to “contractions and attitudes without precedent in the history of statuary.” He continued in a subsection also entitled “Phénomène de l’extase” that “the repugnant can be transformed into the beautiful” through such ecstasy.1 The transformation of the perception of art, architecture, and most other forms of modern life was thus dependent upon the continuous excitation of ecstasy. The sexual abandon of the female hysterics in the collage was one way of accommodating such a desire.2

Salvador Dalí, “De la beauté terrifiante et comestible de l’architecture Modern’ style,” Minotaure 3-4 (12 December 1933), 69-76. ↩

Robert James Belton, The Beribboned Bomb: The Image of Woman in Male Surrealist Art, 249. ↩

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Lost Landscape

Brazilian architect Luiz Eduardo Lupatini created a visual musing about the nature of human use of building materials.

He placed his conceptual design “Lost Landscape” at the heart of a quarry which would inspire individuals to confront their preconceived ideas about consumption. There is a notable interplay with positive and negative space as well as the presence of both industrial and natural textures. Monolithic concrete walls and entrances would allow people to navigate the extraction site as if it were a system of naturally occurring caves. See more on the winning Carrara Thermal Baths Competition project here.

Images and text via

Haari Tesla, illuminated (2013) 

"Macrocosm and microcosm is an ancient Greek Neo-Platonic schema of seeing the same patterns reproduced in all levels of the cosmos, from the largest scale (macrocosm or universe-level) all the way down to the smallest scale (microcosm or sub-sub-atomic or even metaphysical-level). In the system the midpoint is Man, who summarizes thecosmos."

" I was doing some researches  and I found experiment with miniatures of space so I decided to try my own. The result has been nebulae, galaxies and supernovae  transformed into microorganism.” - Artist’s Statement”