Psycho Buildings: Artists take on Architecture

Rotating Kitchen by Zeger Reyers

A cook was found preparing snacks and serving drinks to visitors of the vernissage. When more than half of the food had been, the dishwasher full and switched on, the cook left, with all of the containers of ingredients, ooking utensils, pots and pans on the counters, herbs and spices open, as well as open bottles of wine, for what seemed to be a temporary period of time, perhaps for a smoke or bathroom break. upon is exit, the kitchen slowly began to tilt and turn, rotating a complete axis in approximately fifteen minutes.

Nothing but love for this. Click through for the noisy video.

Related: Phalanstery Module - Bureau Spectacular / Jimenez Lai, but using rotating spaces to the user’s advantage.

(via designboom)

A Sac of Rooms All Day Long by Alex Schweder

This work is something too big inside something too small. The architectural features of this iteration are “drawn” into the seams through the use of black vinyl strips of varying widths. The widths correlate to the line weight that would be used in an architectural drawing. Thinner lines indicate less prominent features like moulding, while thick lines indicate the outer limits of the rooms. The inflation and deflation causes this work to continually fluctuate between something recognizable and a jumble of lines.

(via It’s Nice That, with an interview with the artist)

Ad Reinhardt, How to Look at Art, Arts & Architecture, January 1947

(via stoppingoffplace)

Moviedrome: The Search for Total Theatre, 1963, by Stan Vanderbreek

Influenced by Buckminster Fuller’s spheres, VanDerBeek had the idea for a spherical theater where people would lie down and experience movies all around them. Floating multi-images would replace straight one-dimensional film projection. From 1957 on, VanDerBeek produced film sequences for the Movie-Drome, which he started building in 1963. His intention went far beyond the building itself and moved into the surrounding biosphere, the cosmos, the brain and even extraterrestrial intelligence.

(via Arqueologia del Futuro)

Devil and the Architecture Student - David Shrigley

Maybe after you graduate. Mmm? Hmm.

Wendy MacNaughton’s art school apartment, circa 1998.

Christ alive, I love this.

(Source: wendymacnaughton.blogspot.co.uk)

Adam Bainbridge - Garden

This is a pencil drawing. (!!)

(via It’s Nice That)

(Source: adambainbridge.com)

David Shrigley

elzoute:

Diving-board - Filthy Luker (Art Attacks serie)

lessadjectivesmoreverbslikesthis:

threadless:

We definitely agree with this.  Score Advice by Sara Martin now.

Get on with it. (I’m currently waiting for Illustrator to export.)

#self-reblog #woooo! I much prefer my side-blog (stupid name though.)

(via lessamorevarchiveproject)

A Sac of Rooms All Day Long by Alex Schweder La

This work is something too big inside something too small. The architectural features of this iteration are “drawn” into the seams through the use of black vinyl strips of varying widths. The widths correlate to the line weight that would be used in an architectural drawing. Thinner lines indicate less prominent features like moulding, while thick lines indicate the outer limits of the rooms. The inflation and deflation causes this work to continually fluctuate between something recognizable and a jumble of lines.

(via It’s Nice That)

Art Destroying Architecture: Chris Burden’s 1985 Samson

“…a 100-ton jack connected to a gear box and a turnstile. The 100-ton jack pushes two large timbers against the bearing walls of the museum. Each visitor to the museum must pass through the turnstile in order to see the exhibition. Each input on the turnstile ever so slightly expands the jack, and ultimately if enough people visit the exhibition, SAMSON could theoretically destroy the building. Like a glacier its powerful movement is imperceptible to the naked eye.”

(via socks-studio)

abbccc:

Lan Tuazon at the Storefront for Art and Architecture

archiveofaffinities:

Roy Lichtenstein, Magnifying Glass 

Very cheeky.