Misha Kahn aims for "optimistic design show" at Friedman Benda New York

A colourful cashmere sofa, bronze chandeliers and stained-glass sculptures are among the mix of plush and sculptural objects American designer Misha Kahn is displaying at New York gallery Friedman Benda.

Marking the Brooklyn artist's third presentation in the Chelsea gallery, Soft Bodies, Hard Spaces is intended to offer a positive reflection on the relationship between humans and machines.

Walls and display plinths are covered in fuzzy, white yarn on one side of the exhibition

"I feel like this show is really me trying to make sort of an optimistic design show, humans and machines collaborating nicely, materials collaborating nicely, everything feels sort of empathetic to each other," he told Dezeen.

"The exhibition title references Kahn's interest in the incongruity of what he refers to as our 'strange, soft bodies' within the 'hard, violent right angles' in which we reside," Friedman Benda added.

While the other side, they are coated with sand and dark paint

The gallery space is divided into two distinct areas designed to reflect the juxtaposition in the exhibition's name. On one side the walls and display plinths are covered in soft, white yarn, while the other is coated with sand that has been glued and then covered in a dark paint with an airbrush.

Objects on show employ a range of materials and methods including metal casting, hand weaving, digital modelling and glass collaging.

It features a mix of unusually shaped and curved designs, such as the Pig of Sea sofa and All the Things I Forgot chandelier

Kahn used a virtual reality (VR) programme to draw the unusually shaped and curved designs by hand. He said the process allowed him to easily manipulate the creations and create unexpected outcomes.

"I always feel like if I know what it's gonna look like from the start, it's like why make it?" the designer added. "I'm hoping to be taken on an adventure."

Kahn used VR to visualise the abstract configurations that make up the cashmere Pig of Sea sofa and pair of curvaceous Ammonoid Omega and Alpha chairs.

The set of shapes on the mohair tapestry, titled A Loose Understanding of the Space-Time Continuum, were also realised with the technology. Drawings were then woven by South African artist Mags Stephens.

Kahn worked with South African artist Mags Stephens to create A Loose Understanding of the Space-Time Continuum

Bronze objects, such as the All the Things I Forgot chandelier shown in a mini-model and full size version, and Reception Desk for the Unknown comprise of over 100 individual parts.

Kahn constructed a series of glass and aluminium sculptures as a visiting artist at the Corning Museum of Glass, including Storage for Light, Emotions, and Transient Thought. He conceived the fantastical objects by outlining their forms in a pit of sand.

Storage for Light, Emotions, and Transient Thought is a glass and aluminium sculpture that Kahn created by outlining abstract shapes in a pit of sand

Similar to the glassworks, Kahn has created "material collages" such as Slide to the Left and Slide to the Right. They are two towering mixes of materials that combine stainless steel, concrete, glass, fibreglass, ceramic, bamboo and wool into one object.

Soft Bodies, Hard Spaces is on display at Friedman Benda in New York until 4 April 2020.

Kahn's "material collages" such as Slide to the Left and Slide to the Right combine stainless steel, concrete, glass, fibreglass, ceramic, bamboo and wool into one towering object

Kahn's previous exhibitions at Friedman Benda include a collection of sea creature sculptures made from collected trash. He also made a "rampant cast of character-objects" that were displayed at Los Angeles' M+B Annex gallery.

Friedman Benda opened its New York City gallery in 2007. Other recent showcases there include an exploration of comfort curated by Omar Sosa and rare and limited-edition furniture designs by Italian architect and designer Gaetano Pesce.

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Tom Hegen photographs the Netherlands' glowing greenhouses

Aerial photographer Tom Hegen has captured large greenhouses throughout the Netherlands from the air to draw attention to questions over how we will feed the world's growing population.

Named the Greenhouse Series, the photographs documents the vast number of the LED-lit agricultural buildings in the country, which are used to feed more people while using less land than traditional farming.

Each photograph resembles an abstract artwork, however after grabbing attention of viewer they are intended to spark contemplation about why the greenhouses are needed.

Hegen hopes the photographs will raise questions about what the future of the planet might look as both the demand for food continues to soar as the global population increases.

"One of the main questions that will affect our future life on earth will be, how can we feed the ever-growing world population with shrinking resources?" Hegen told Dezeen.

"According to the United Nations, the world's population will grow from today's 7.5 billion people to 10 billion in 2050. And as natural resources like farmland and water become scarce, feeding the world will become an even greater challenge," he continued.

"Those indoor farms are a prototype to experiment on how to maximise the yield with little space and limited resources."

The greenhouses Hegen has photographed are found throughout the Netherlands. They are used to grow crops around the clock by artificially controlling light and humidity inside and help make the country one of the world's biggest exporters of agricultural products.

Hegen's series seeks to raise awareness of the negative effects of the greenhouses too, including light pollution and growing crops out of season to be transported around the world.

Hegen's idea for the photography series was the result of him reading about the structures in a science magazine, which led him to wonder how they integrate with their surroundings.

Hegen therefore captured The Greenhouse Series from the sky in a helicopter, directing its pilot throughout to ensure he could capture photos from the desired angles.

"I was wondering how these greenhouses may look in the dark, if they are covered and how they integrate into the surrounding environment. All this made it appealing for me to visit the area," Hegen continued.

"Aerial photography is the only way to make the glowing patches of greenhouses visible."

The Greenhouse Series forms part of Hegen's wider photographic work that explores of the anthropocene – the age in which humans are the dominant force impacting the earth's geology.

His decision to carry out photography with a birds-eye view is an attempt to offer a fresh different perspective on the scale of humans' impact on the planet.

"I find it really tempting to play with the contrast of beautiful compositions and deeper topics," Hegen explained.

"I use abstraction and aestheticisation as a language to inspire people and also to offer the viewer a connection to the subject as they need to decode what they are looking at."

His other photo sets that explore the anthropocene range from aquaculture and icebergs – all unified by an ambition to raise awareness of how human activity may affect the future of life on earth. Hegen hopes it will encourage people to make more of an effort to make a difference.

"We are a world that is driven by consumerism and permanent growth, and there is a price to pay to keep this system go. I am doing this to show people the impact we have on our environment," he concluded.

"Hopefully, people will understand, start thinking about our relationship with our environment and maybe even taking responsibility for it."

Alongside advancements in aerial photography, the proliferation of drones is seeing more buildings around the world being photographed from the air.

In 2019, Márton Mogyorósy used drones to document Barcelona's architectural symmetry from above, and Dezeen rounded up photos of 12 homes that have been captured from a bird's-eye view.

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Lake Waves Appear Frozen in Time Amidst the Rocky Mountains in Photographs by Eric Gross

All images © Eric Gross, shared with permission

Shot at an elevation nearing 10,000 feet in Colorado’s Rocky Mountains, a series of images by Eric Gross capture a high-alpine lake covered in icy ridges and dips that mimic sleek waves. The Colorado-based photographer tells Colossal that local experts believe the phenomenon is caused by snowdrifts blowing onto the already frozen lake, melting there, and then refreezing. “Through multiple melt/freeze cycles and after periods of high winds, the mounds and divots are shaped into deep curves, sometimes with sharp ridges and lines that give the appearance of regular lake waves, frozen in time,” Gross says. “Composing images from ground level revealed that the dark ice waves exhibit psychedelic reflections of the surrounding mountainous landscape.” To see more of the photographer’s phenomenological works, head to Instagram.

 

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NeueHouse opens Los Angeles co-working space inside landmarked Bradbury Building

Canadian studio DesignAgency incorporated "soft and graceful flourishes" into NeueHouse's latest co-working location that occupies a full floor in a 1890s structure in Downtown Los Angeles.

Founded in 2011, NeueHouse describes itself as a "cultural home for creators, innovators and thought leaders". The company's new workspace in Los Angeles joins two other locations in New York City and Los Angeles' Hollywood neighbourhood.

DesignAgency, a studio based in Toronto, oversaw the design of the new outpost.

"Catering to the modern creative workforce, NeueHouse Bradbury is a sophisticated and comfortable work environment with amenities that go beyond anything seen in a conventional office," the practice said.

Encompassing 25,000 square feet (2,323 square metres), the space offers communal work areas, private studios, conference rooms, phone booths, lounges, a wellness room and a cafe and bar.

The outpost occupies the entire second floor of the Bradbury Building, a five-storey structure dating to 1893.

Commissioned by the mining tycoon Lewis L Bradbury, the building was designed by draftsman George Wyman who drew upon an initial scheme by architect Sumner Hunt.

The building has appeared in films, television shows and music videos, including Ridley Scott's Blade Runner. It was designated a National Historic Landmark in 1977.

Exterior walls are made of brick, sandstone and terra cotta. A narrow lobby leads to a grand, light-filled atrium that features ornate ironwork and birdcage elevators.

Work areas and amenity spaces are positioned around this central void.

"It was a real privilege for us to work with such an iconic American building and this gave us a great starting point," said Anwar Mekhayech, founding partner at DesignAgency.

"In response to its rich visual history and its bold character, we decided to add a new layer that is modern and fresh, with soft and graceful flourishes."

A number of original elements were preserved, such as exposed wooden ceiling joists and oak-framed windows that rise 11 feet (3.4 metres). The team also retained 20 historic fireplaces, which are fronted with weathered and glazed bricks.

Existing features were merged with modern additions including Versailles parquet flooring and linen drapes. Incorporated throughout are comfy furnishings with rounded edges that were custom-fabricated by Irish manufacturer Orior.

Work areas feature copper task lighting, potted plants and natural light. Lounges are fitted with plush blue sofas and a variety of tables and armchairs. Rooms are adorned with rotating artwork sourced from local galleries.

At the bar, NeueHouse co-working members can enjoy a coffee or cocktail while sitting in rose-hued stools lining a marble-topped bar. Globe-shaped pendants by Lee Broom are suspended overhead.

The new location has already signed on several tenants, including Woods Bagot architecture firm and talent management company Society.

"We are thrilled to be opening our third NeueHouse in such an architecturally significant and iconic building as Bradbury," said NeueHouse's CEO, Josh Wyatt.

"Our expansion to Downtown LA comes at a time when the area is booming, and the local creative community is in search of a cultural and commercial hub".

Other new projects in Downtown Los Angeles are a Soho House location with a rooftop pool, a showroom for Danish brand Hem and a glass courthouse building by Skidmore, Owings & Merrill.

NeueHouse has marked the opening of its new location with a series of salon-style talks with prominent LA creatives including architect Kulapat Yantrasast and futurist Liam Young.

Photography is by Nikolas Koenig.

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A show by womxn, celebrating inspiring womxn, by W+K Amsterdam

The Intersection exhibition features 50 artworks curated by the agency and The TittyMag, by a veritable who’s who of female-identifying creatives in The Netherlands.

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