Human Subjects to the [Ongoing Coronavirus] Distorted by Nature in Double-Exposure Photographs by More of Works

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Human subjects to the ongoing coronavirus distorted by nature in double-exposure photographs by more of works. Human subjects distorted by nature in double-exposure photographs by more of works that expertly blend themes of nature and humanity.
During the first frost in the southern region of Finland, shot dense patches of branches, ferns, and blades of grass as part of a new set of double-exposure photographs.
Titled We Are Nature Vol. 6, the monochromatic project merges human figures with nature to generate a portrait of a woman whose forehead is substituted with overflowing brush.
Another image shows two kids whose features are obscured by leaves and vines.

Human Subjects to the [Ongoing Coronavirus] Distorted by Nature in Double-Exposure Photographs by More of Works

 

Human Subjects to the Ongoing Coronavirus Distorted by Nature in Double-exposure Photographs

Human subjects to the ongoing coronavirus distorted by nature in double-exposure photographs, has a background in freelance photographer with PhD in architectural arts, for the decides how to pair [each subject] and natural element based on graphical compositions and forms. “The botanical textures are matched more after the overall mood. If it feels wrong, I will simply trust my gut.”

Whereas many of his previous projects had been [blended in-camera], altered his method for this series thanks to extra time indoors due to the ongoing coronavirus pandemic.

“I decided, however, to still bring inspiration from both the multiple exposure film algorithms (negative film) and some basic darkroom techniques.”

When doing it in-camera, the manipulation is basically done instantly. Then while using external software (Photoshop) I get more flexibility and options. Not always for the better. I have ruined artworks by taking it too far. Doing it in-camera can feel really rewarding when done right. But the pressure can be tiring.

More of works that expertly blend themes of nature and humanity, human subjects to the ongoing coronavirus distorted by nature in double-exposure photographs.

Human Subjects to the [Ongoing Coronavirus] Distorted by Nature in Double-Exposure Photographs by More of Works

 

Human Subjects to the [Ongoing Coronavirus] Distorted by Nature in Double-Exposure Photographs by More of Works

 

Human Subjects to the [Ongoing Coronavirus] Distorted by Nature in Double-Exposure Photographs by More of Works

 

 

 

 

 

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Paris streets illustrating the ReGreeneration vision for green urban renewal and the 15-minute city

巴黎綠色都市復興傳說三部曲

ReGreeneration 以巴黎為起點,透過 15 分鐘城市、綠洲校園與性別敏感城市設計,重新描繪歐洲都市更新的未來藍圖。     巴黎一直是世界城市規劃的重要參考,但真正讓這座城市持續進化的,並非大型新建設,而是不斷重新定義既有公共空間的角色。作為 ReGreeneration 九座示範城市之一,巴黎透過 15 分鐘城市、性別敏感城市設計以及 Oasis Schoolyards 綠洲校園三項策略,將氣候調適、公共參與、生物多樣性與日常生活重新整合,示範了一套兼顧環境、社會公平與城市韌性的都市更新模式,也為全球高密度城市提供新的發展方向。     「綠色復興」ReGreeneration 是一個榮獲 Horizon Europe「地平線歐洲」資助的項目,意在透過基於自然的解決方案、參與式治理以及氣候適應和社會公平的綜合方法,在九個城市推進城市復興。該計劃涵蓋的九個城市類型各異,規模不同,規劃傳統也各有不同,共同構成了一個鮮活的實驗室,用於重新思考永續城市轉型在實踐中的應用。每個城市都為合作帶來了獨特的挑戰和願景,本系列文章將探討每個城市正在進行的工作,以及更廣泛的設計界可以從中汲取哪些經驗。 巴黎是本系列的第一座城市,也是歐洲人口密度最高、最適合步行的城市之一,擁有龐大且有效率的地鐵系統。然而,幾十年來,巴黎的城市規劃主要圍繞私家車展開,由此產生了許多後果,包括長期空氣污染、街道對行人和騎行者不友好,以及公共空間優先考慮車輛通行而非居民生活品質。巴黎擁有著名的建築遺產和歷史中心地帶的公共空間,但同時,其綠地面積遠低於歐洲目標,城市熱島效應隨著夏季的到來而加劇,內城區與郊區之間的差距凸顯了都市的不平等。     在過去十年間,巴黎市政府制定了一系列環環相扣的策略,意在透過對現有城市肌理進行耐心而有計劃的改造,來解決這些矛盾。本文將探討其中三個策略,每一項都與「綠化重塑」ReGreeneration 計劃的目標直接契合。第一項是「15分鐘城市」框架,巴黎市政府試圖透過該框架,圍繞鄰里關係、積極出行和分散式治理來改造社區生活。第二項是性別敏感型公共空間設計,巴黎市政府致力於確保其街道、公園和公共基礎設施能夠服務所有居民的多元化需求。第三項是將學校重新定義為兼具氣候和社會功能的雙重基礎設施,巴黎市政府由此在社區的日常地理環境中,找到了一個意想不到的城市綠化、社區活動和氣候適應場所網絡。

brick house light well interior with vertical light and shadow

廣東磚造房屋以材料構造與光影秩序重塑鄉土記憶與居住關係

    廣東磚造房屋以紅磚與混凝土構築清晰量體,透過材料構造與光影滲透,重塑鄉村建築與當代居住之間的秩序與關係,展現 材料敘事   光井將自然光引入室內,使磚構空間在垂直尺度中建立清晰層次。   廣東磚造房屋以在地建材與構造邏輯回應鄉村建築的生成方式,重新界定居住、記憶與環境之間的關係。透過磚作為空間與結構的共同語言,建築在內外之間建立厚度與層次,展現 Material as Narrative 的敘事力量;同時藉由開口、進深與光井控制光線路徑,形塑具有時間性的 Light and Space 空間經驗。   鄉村建築並非被一次性設計完成,而是在長時間的使用、修補與增建之中逐步形成,呈現出一種帶有模糊邊界的秩序。這種秩序不依賴形式,而來自於與環境、氣候與生活方式的長期協調。 在此脈絡下,設計並未透過強烈的形式語彙介入,而是選擇降低建築的可見性,使其重新嵌入既有場域之中。業主希望這棟房子能讓下一代重新理解家鄉的存在,這使建築不只是空間的更新,而是一種記憶與歸屬的重新建立。同時,非日常居住的使用條件,也使設計在情感之外,必須精準回應成本與維護的現實限制。使建築不只是空間更新,更回到作為日常居住(domestic space)與家庭聚合的場所。       磚的尺度與人的身體直接對應,使其在搬運與砌築過程中形成一種自然的節奏,這種節奏進一步被轉化為空間生成的基本單位。 從單一磚塊到牆體,再到整體構造,建築呈現出一種由模組堆疊而成的秩序。鋼筋混凝土框架提供主要結構,內層牆體與其精準對齊,使承重與填充之間的關係被清楚揭示;外層則以連續磚面包覆,使結構退居於背景之中。這種內外之間的落差,讓建築同時具備可閱讀的構造邏輯與被隱藏的空間表情。

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