Somos Luz.

“Somos Luz” (“We are Light”) is the message painted on 50 houses at the building Begonia I in the neighborhood of El Chorrillo (Panama City). It´s been made by spanish artists collective Boa Mistura with the neighbors help.

Boa Mistura was inspired by the neighborhood identity. The starting point is the color grid spontaneously generated by every neighbor when they paint only the part of the building that they understand as his house. The new typography layer modifies this grid losing the housing unit in favor of the community concept.

Rap Quotes by Jay Shells.

For his ongoing project called “Rap Quotes” artist Jay Shells installed street signs quoting famous rap lyrics at the specific street corners and locations mentioned in the quotes. Shells went all over the city and posted over 30 signs quoting the likes of Jeru tha Damaja, Mos Def, Nas, Kanye West, CL Smooth, GZA, and RA the Rugged Man. “A lot of rappers call it their block” Shells explains, “When you’re on a corner that’s called out in a song, I think it’s cool to know that”.

Projecto Nuvem by Eduardo Coimbra.

With his ‘Projecto Nuvem’ Argentinean artist Eduardo Coimbra brought the sky down to the ground and made it possible for us to walk through clouds and interact directly with his sculptural installation. This is exactly what the multimedia artist, who studied engineering and architecture, actually aimed for: to provoke people right where they live, where they move.

His huge site-specific installations seem like a synthetic constructions of our reality. He says that his work is related to space in a broader sense, many times forcing the boundaries between interiors and exteriors of art spaces. The three-dimensional work of clouds and skies, both motives that are very present in his work, consists out of five square light boxes, each 4.7 meters high, iron, translucent canvas printing, fluorescent lamps, and mirrors. Mirrors, that reflect the light during daytime and illuminated boxes that mimic the brightness at nighttime.

Palais Idéal du Facteur Cheval.

Walking along his mail route in the town of Hauterives in Southern France, a postman picked up a stone in 1879. As he held it in his hand, the shape of this single stone inspired that postman, Ferdinand Cheval, to build a grand palace.

For the next 33 years, he collected stones along his postal route. Sometimes just one or two, and other times, wheelbarrows full of them. Having left school at age 13, and with no training in architecture or art, 43 year old Postman Cheval began to build his palace with cement, wire and stones, working at night by an oil lamp.

The palace shows a mix of inspirations, including the Bible, Neuschwanstein, Hindu sanctuaries, Meliès, a cave, and a sandcastle. It also includes a shrine for his wheelbarrow. Cheval wanted to be buried in his palace, and when French authorities forbade it, he built his own magnificent vault in the local cemetery at the age of 80. Inscribed in the palace walls is Cheval’s message to the world:

“I was not a builder, I had never handled a mason’s trowel, I was not a sculptor. The chisel was unknown to me; not to mention architecture, a field of which I remained totally ignorant… Everything you can see, passer-by, is the work of one peasant, who, out of a dream, created the queen of the world…”

Naked Silhouette Alphabet.

“The photographic series NAKED SILHOUETTE ALPHABET is a latin alphabet art, formed by the naked body and performance of experimental textures that depict the silhouette.” says the creator Anastasia Mastrakouli.

In this series the goal is to highlight the dialectical relationship between anatomy and visual arts. Each image displays the way in which the body turns into one illustrative and choreographic communication channel of a message. The body is cut off from its physical nature and is perceived as an imprint. The body shape becomes a letter through a deliberately abstract and other-worldly aesthetic.

Kiss of Judas (1304–06), fresco by Giotto, Scrovegni Chapel, Padua, Italy

Chromatic Building

Dutch artist Peter Struycken imagined at Netherlands Architecture Institute a series of figures in colored concrete on basis of the structure, to provide a work of art of 170 meters long.

Goëss Apartment (Maria Theresa’s summer apartment).

The murals in the rooms display a succession of landscapes, starting with an untouched exotic landscape and ending with a formal Baroque garden.

Spectrum of Time by Peter Erskine.

“Spectrum of Time” is a permanent rainbow sundial calendar installation in the Kokerei Zollverein, a United Nations Historic Preservation site. Hour and month lines painted on the walls and floor of the 40’ X 40’ X 40’ industrial museum space mark the hours, summer and winter solstices, and the spring and autumn equinoxes with astronomical accuracy. A 30’ X 30’ cross of solar spectrum light powered by the rotation and tilt of the earth tells the time and date. On cloudy days a laser pointer driven by a solar tracking program fills in for the rainbow.

Spectrum of Time, Rainbow Sundial calendar. Visitors walk inside a living map of the solar year. Each “Rainbow Sundial calendar” is a unique joining of astronomy, architecture, locale, and art.

Winter 1972 by Adrian Merz.

The little notes represent the fragments of memories, stories and feeling, telling personal stories that different people experienced during winter 1972.

“I Lost You in the Desert,” a series of painted rocks by Pascal Grandmaison.

“Drip, Drip, Drip”, paper sculptures by Huy Lam.

This paper sculpture was my second attempt and I wanted to create something graphic and simple in terms of design. The wiring for the 4 LEDs was a real pain in the arse because it’s all internal. The switch and battery is in the bottom and not visible.

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Anarchitecture by Olivier Ratsi

A tribute to Oscar Niemeyer by Eduardo Kobra.

The city of São Paulo is paying tribute to architect Oscar Niemeyer with a massive mural on Avenida Paulista painted by artist and muralist Eduardo Kobra with the help of four other artists over the course of the last ten days. The mural in honor of Niemeyer, who passed away last December at the age of 104, is 52 meters tall and 16 meters wide, occupying almost an entire facade of an 18-story high building at Praça Oswaldo Cruz.

Cereal Killer