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Reconciliation with
the living artworks

“Living Architecture: Casa Batlló” is the first UNESCO World Heritage Site to embrace living works of art in NFT format. The pioneering masterpiece changes depending on the city’s weather, data collected in real-time, and the events celebrated on the façade of Casa Batlló (e.g., Saint George’s Day, Christmas, social lightings…). This is the artist’s homage to and radical reinterpretation of Antoni Gaudí’s famous Casa Batlló in Barcelona, Spain. The sense of “the living” is embedded in the work not just for being a dynamic NFT but because it is a multisensorial experience that enhances the spirit of a nature-inspired and originally sustainable-born house.

2022

Living Architecture: Casa Batlló

Refik Anadol

Refik Anadol

by

The conceptual framework underlying this artwork is intended to inspire contemplation regarding the imperative of preserving our planet. The circular form of the piece symbolically represents Earth and its delicate biosphere. Upon closer observation, the dynamic rotation of the artwork reveals the emergence of a visage, metaphorically embodying humankind in a futuristic milieu. Within this speculative vision, humanity has undergone a transformative metamorphosis, potentially assuming an alternative state of being necessitated by the environmental degradation inflicted upon Earth. This envisioned transformation signifies a hypothetical convergence of human existence with cutting-edge technologies, such as AI-enabled nanotechnology, where the boundaries between the organic and the artificial blur. In this speculative scenario, humanity transcends its biological limitations, obviating the need for conventional life-sustaining elements like breathable air and adapting to thrive in inhospitable environments. However, a profound underlying theme persists: the inherent inclination of humans to prioritize the conservation of our home planet rather than embarking on such radical metamorphosis. The artwork thus evokes a profound reflection upon the human condition, provoking contemplation regarding our role as stewards of Earth and the urgency to preserve its ecosystems. Humanity, A beautiful species. Earth, the biosphere, Our planet, our home. Merged with the elements, a part of nature. We found a new way to survive. Keeping our spirit and soul alive. AI-collaborative video art, sound and poem created by DVK.

2023

Adaptation

DVK the artist

DVK the artist

by

“rɪˈflɛkt” visually speaks to the art of remembering a connection to something more, reflecting on an eternal truth that we are all one with each other, nature, and the ethos of the universe. This work is specifically inspired from a moment that the artist spent at Ruby Beach, just outside of the Olympic national Forest after spending a week backpacking through some of the greatest and most primal areas of the Pacific Northwest, United States. When one is in the wild for more than a few days, a resonance begins to occur, frequencies change, and a new level of dimensional awareness becomes clear. It’s only afterwards that one reflects on this moment and begins to see the contrast of how you believed things were versus how they actually are.

2023

rɪˈflɛkt

BLΛC.ai

BLΛC.ai

by

Landscape with Carbon Capture a été créé par zancan en novembre 2022 à l’occasion de la campagne #Artists4theLiving organisée par l’association à but non lucratif Culture For Causes Network en coordination avec l’UNESCO. Il s’agit d’une œuvre générative, ce qui signifie qu’elle a été créée à l’aide de code de programmation et de formules mathématiques. De plus, l’œuvre était accessible à l’achat pendant la campagne par les collectionneurs de NFT, qui pouvaient acquérir diverses versions de celle-ci, l’algorithme apportant des modifications à l’œuvre en temps réel. Ces pièces uniques montrent les possibilités passionnantes offertes par les outils numériques, inaugurant une nouvelle ère de créations artistiques qui captivent des communautés entières d’amateurs d’art NFT.

2022

Landscape with Carbon
Capture #4543. Courtesy of Confused Collector

Michaël Zancan

Michaël Zancan

by

Landscape with Carbon Capture a été créé par zancan en novembre 2022 à l’occasion de la campagne #Artists4theLiving organisée par l’association à but non lucratif Culture For Causes Network en coordination avec l’UNESCO. Il s’agit d’une œuvre générative, ce qui signifie qu’elle a été créée à l’aide de code de programmation et de formules mathématiques. De plus, l’œuvre était accessible à l’achat pendant la campagne par les collectionneurs de NFT, qui pouvaient acquérir diverses versions de celle-ci, l’algorithme apportant des modifications à l’œuvre en temps réel. Ces pièces uniques montrent les possibilités passionnantes offertes par les outils numériques, inaugurant une nouvelle ère de créations artistiques qui captivent des communautés entières d’amateurs d’art NFT.

2022

Landscape with Carbon Capture #10175. Courtesy of Darek.eth

Michaël Zancan

Michaël Zancan

by

In 1960, we accomplished a historic feat when we reached the deepest known point on the Earth's surface - the ocean floor of the Mariana Trench, which lies at a depth of 10,916 meters. As scientists, we had long assumed that no multicellular organisms could survive in such a harsh environment. However, to our surprise, we found that the deep sea was teeming with life, with many species still waiting to be discovered. Fast forward to today, and I find myself exploring a new frontier of discovery - the digital realm. "Specimens" is a collection of 3 procedurally generated and animated imaginary creatures that draw inspiration from the deep-sea organisms discovered in the Mariana Trench. Using a combination of patterns, behaviors, and structures from these organisms, along with the peculiar appearance of microscopic imaging, the artist has created new, digital living forms that blur the lines between science and art. As I study each of the three creatures in "Specimens," I am struck by the intricate patterns and movements that simulate the complex behaviors of their real-life counterparts. From the glowing tendrils to the pulsating, tentacled bodies, each creature is a unique creation that captures my imagination and inspires wonder. What I find particularly fascinating about "Specimens" is how it highlights the interconnectedness of different forms of life. Despite the vast differences in scale and environment between the deep-sea creatures of the Mariana Trench and the digital creations of the artist, there are clear parallels in their form and function. By bringing these two worlds together, "Specimens" encourages me to look beyond my own limited perspective and appreciate the diversity and complexity of life in all its forms. "Specimens" is a testament to the enduring fascination and wonder that the deep sea continues to inspire, even as we venture into new frontiers of exploration in the digital realm. Through the power of art and technology, the artist has created a unique and mesmerizing collection of creatures that challenges my perceptions of what it means to be alive and reminds me of the endless possibilities for discovery and creativity that lie ahead.

2023

Specimens

Paweł Grzelak

Paweł Grzelak

by

For years, I've been creating my "enchanted landscapes" series. This series of paintings is not an attempt to depict the forests or fields as they are. What I try to do is to bring onto my canvas a sense of a forest, a feeling of a field, a palpitation of a heavy mist, of a damp soil, and of a meadow that's like the warm back of some furry animal. For years I've been fascinated by the interlacing of the leafless branches of late autumn or early spring when leaves have fallen off or have not yet popped out of the buds. I see these netted twigs as an infinite, interconnected web that hides some veiled mystery, and I want to come inside, right into this spellbound meshwork. I create each enchanted landscape as if creating a mandala. Painting them is more of a meditation for me than anything else. There was a time in my life when I was going through a rough patch and everybody was calling me, asking me "How are you?" and "Are you doing all right?" to which my response was: "I am now OK, I'm painting a meadow". This meadow became the first painting in this series, although at the time I didn't know it would actually become a series, but it felt like I had finally found something that is really important to me. The year was 2012. I was quite young then, and it was a period of an intense search for my creative self. Sometimes I wanted to take on topics that had a social focus or do something conceptual. But now, when I create my enchanted landscapes, I think that if people were to listen more to the feeling one gets standing on a hilltop looking down at the fur-coated grasslands, or a bewitching sense of magic one feels entering an enchanted forest - sensations well-known to people of different cultures and social classes - then there will certainly be less evil on this Earth. Once, this November, I came to my favorite forest. The woodlands were moist and the forest was purple. The soil was rusty-red, crimsoned by the fallen leaves that had started to decompose. I looked at all this beauty and thought: "This is so sublime, that I wouldn't be sad to die and blend into this magical world." I paint my landscapes as patterns, as abstractions. I am not interested in exact physical likeness.

2020

Blooming Spring

Polina Kuznetsova

Polina Kuznetsova

by

There are too many things we take for granted. We have to stop, take a breather and realize how dependent we are on our environment. Every tree we cut down makes our collective breath that much shorter.

2020

We are One with Nature

Abbas Berangi

Abbas Berangi

by

I was a very young boy when I was stunned by a machine in a store: a typewriter with an LCD segment display. It was tangible proof of a dream future, then called "the year 2000", which would bring us flying cars and helpful humanoid robots. I grew up and organized my professional and creative life inhabited by this childhood fascination for the marvels of technology. You have to mature enough to understand when adhering to these promises of a benevolent and playful future makes you a devoted consumer. I broke later with this utopia of abundance, ease and technological comfort, not without difficulty. Having become a critic of my own desires, I now live with this torment: our energy to build carries our own demise. There are those gurus whom we love to revere, those makers of jewels, pleasures and riches, who chant the promise of our individual happiness in technological progress. These make solutions up that stir up the very problem. "Always control your speed," said the driving instructor; today no one knows how to brake. Everything I create today is inhabited by this doubt and this guilt, in the realization that my innocent pleasure of creating depends on what fuels our race towards disaster. Yet energy is the engine of men. Art has this kind of energy, charismatic and unifying. If I believe little in technology to save humanity, I keep hope in humanity, in its conscience, in the universality of its love. If only one power is given to artists, it is that of being able to touch, sometimes, the hearts of men, and in this sense, I have this duty to continue to try. "Landscape with carbon offset" is an honest critique of my own consciousness as an artist working with technology. The canvas where the desire to explore new forms of art is expressed will always remain stained with the hydrocarbons that I participated in burning; the technological solutions that we place our faith in are barely more than ways to wash away our guilt. For these reasons, through the hard times, more than ever, we need beauty in our lives.

2022

Landscape with Carbon offset

Michaël Zancan

Michaël Zancan

by

Humans are generative, propagating ourselves and our creations to the far reaches of the world and beyond. Unfettered, this practice has taken its toll on many fronts – alarming biodiversity loss, deforestation, and pushing systems to crisis points. It doesn’t have to be that way. We are surrounded by nature, still, and can nurture it back to health. We have the knowledge and ability to live sustainably and in harmony with the environment, if we choose to do so. Our potential for innovation is tremendous, and the rate at which technology is evolving is astounding. In the same way that we can steer what we “generate” in the world, generative works were used in the creation of this piece, to manifest a scene where nature is flourishing all around, while what we are manifesting therein is still taking shape – it will become what we steer it to be.

2023

Generative by Nature

Ian (sumofprimes)

Ian (sumofprimes)

by

Immersed in the endless expanse of the Everglades, we often forget just how small our lives are. Inspired by the days of finding myself with family, on our boating trips out in the Everglades. Always seeking refuge and immersing ourselves in the endless tributaries of Florida. Fishing was always an activity we would seek out on the weekends. A way to escape the modernity of suburban living.

2023

The Glades

DeltaSauce

DeltaSauce

by

Landscape with Carbon Capture a été créé par zancan en novembre 2022 à l’occasion de la campagne #Artists4theLiving organisée par l’association à but non lucratif Culture For Causes Network en coordination avec l’UNESCO. Il s’agit d’une œuvre générative, ce qui signifie qu’elle a été créée à l’aide de code de programmation et de formules mathématiques. De plus, l’œuvre était accessible à l’achat pendant la campagne par les collectionneurs de NFT, qui pouvaient acquérir diverses versions de celle-ci, l’algorithme apportant des modifications à l’œuvre en temps réel. Ces pièces uniques montrent les possibilités passionnantes offertes par les outils numériques, inaugurant une nouvelle ère de créations artistiques qui captivent des communautés entières d’amateurs d’art NFT.

2022

Landscape with Carbon
Capture #4183. Courtesy of Bernardo Café

Michaël Zancan

Michaël Zancan

by

Landscape with Carbon Capture a été créé par zancan en novembre 2022 à l’occasion de la campagne #Artists4theLiving organisée par l’association à but non lucratif Culture For Causes Network en coordination avec l’UNESCO. Il s’agit d’une œuvre générative, ce qui signifie qu’elle a été créée à l’aide de code de programmation et de formules mathématiques. De plus, l’œuvre était accessible à l’achat pendant la campagne par les collectionneurs de NFT, qui pouvaient acquérir diverses versions de celle-ci, l’algorithme apportant des modifications à l’œuvre en temps réel. Ces pièces uniques montrent les possibilités passionnantes offertes par les outils numériques, inaugurant une nouvelle ère de créations artistiques qui captivent des communautés entières d’amateurs d’art NFT.

2022

Landscape with Carbon
Capture #6887. Courtesy of agksys

Michaël Zancan

Michaël Zancan

by

I have long been fascinated with using computational tools to depict or inspire other places and ecologies, both real and imaginary. In my previous series 'Cave Paintings', I used prompt-based AI image generators that I self-assembled, to create subterranean landscapes that blurred the distinction between nature and culture, fusing the pop of the modern world with natural elements. Rock faces in these caves appeared to be curiously carved into recognisable forms not associated with caverns, brought into being by the software's recollection of the human world and culture it had been trained on. This new project further expands on my work and reimagines AI generated image-making as a collaborative process involving the local ecology and wildlife found in my garden. The garden is never fully wild, nor fully human-led, it is in itself an ongoing cooperation to make a more hospitable environment for both humans and other species, involving a negotiation of needs. The artworks are generated by photographing the different plants and animals in the garden, and using these as prompts to steer the image-making process, alongside my own written requests and previous artworks as prompts. The AI process then has to find a compromise and generate images that satisfy both goals. The resulting images appear comprised of elements evoking everything from stones or stems, topiary or tunnels, ferns or faces, fossils or found objects. The AI is purposefully constrained in its ability to resolve the image, abstracting outcomes and impeding categorisation. In addition, this series uses shaders to animate the outputs, suggesting flows of information interconnect and ripple through all the elements in the assemblage. In my project Make Kin, Make Kin, I make reference to Donna Haraway's provocative plea to "make kin, not babies", suggesting that an urgent response to biodiversity loss is to imaginatively expand our understanding of the persons we care for to include nonhumans. In doing so, we would care for other species as extended family. The title also subverts the premise of the dystopian book Make Room, Make Room that played out fears of out-of-control population growth, to reimagine a future characterized by a surge in biodiversity and more-than-human kinship. This project is as much an ongoing performance as well as a series of outputs, in which I am prompted by the artistic process to foster a deeper connection with the local ecology and be more attentive to the co-inhabitants of a shared garden.

2021

Make Kin, Make Kin

Matthew Plummer-Fernández

Matthew Plummer-Fernández

by

For years, I've been creating my "enchanted landscapes" series. This series of paintings is not an attempt to depict the forests or fields as they are. What I try to do is to bring onto my canvas a sense of a forest, a feeling of a field, a palpitation of a heavy mist, of a damp soil, and of a meadow that's like the warm back of some furry animal. For years I've been fascinated by the interlacing of the leafless branches of late autumn or early spring when leaves have fallen off or have not yet popped out of the buds. I see these netted twigs as an infinite, interconnected web that hides some veiled mystery, and I want to come inside, right into this spellbound meshwork. I create each enchanted landscape as if creating a mandala. Painting them is more of a meditation for me than anything else. There was a time in my life when I was going through a rough patch and everybody was calling me, asking me "How are you?" and "Are you doing all right?" to which my response was: "I am now OK, I'm painting a meadow". This meadow became the first painting in this series, although at the time I didn't know it would actually become a series, but it felt like I had finally found something that is really important to me. The year was 2012. I was quite young then, and it was a period of an intense search for my creative self. Sometimes I wanted to take on topics that had a social focus or do something conceptual. But now, when I create my enchanted landscapes, I think that if people were to listen more to the feeling one gets standing on a hilltop looking down at the fur-coated grasslands, or a bewitching sense of magic one feels entering an enchanted forest - sensations well-known to people of different cultures and social classes - then there will certainly be less evil on this Earth. Once, this November, I came to my favorite forest. The woodlands were moist and the forest was purple. The soil was rusty-red, crimsoned by the fallen leaves that had started to decompose. I looked at all this beauty and thought: "This is so sublime, that I wouldn't be sad to die and blend into this magical world." I paint my landscapes as patterns, as abstractions. I am not interested in exact physical likeness.

2021

Magic Landscape 3

Polina Kuznetsova

Polina Kuznetsova

by

"Underwater Painting Voyage" is an immersive video journey inside my painting series "Utopian Reefscapes" where I paint a fictional ocean of abundance- the one we are losing due to coral bleaching and other environmental threats. I love that second when the veil of the sea lifts and reveals this mysterious and magical universe. One thing was clear to me since my first dive -the underwater world is incredibly fascinating, the most beautiful thing I've ever seen. It felt like I was exploring a new planet, with alien life, colors, textures and shapes. I imagine a diver of the future seeing nothing but dead monochromatic ocean bottom, deprived of color, texture and movement. I feel it's my duty to convey the mesmerizing underwater world while it lasts. Instead of meticulously documenting particular images I took while diving, I paint the underwater garden of Eden where corals of all shapes and colors thrive. 50% of the world's coral reefs have already been destroyed, and another 40% are expected to disappear in the next 20 years due to warming oceans, pollution, overfishing, and habitat destruction-all caused by humans, directly or indirectly. By 2100 coral reefs might cease to exist. Coral reefs will become history and slowly sink into oblivion. How can we care so little about the underwater world when it covers 70% of our planet? We are just guests on this Earth- very demanding guests, with horrible manners, who keep talking about themselves while never stopping to listen or ask questions. I'm hopeful "Underwater Painting Voyage" will inspire in viewers a curiosity, awe, joy, and sense of shared responsibility for our beautiful, fragile planet earth.

2022

Underwater Painting Voyage

Nikolina Kovalenko

Nikolina Kovalenko

by

Life cycle is an evolution - a constant transformation of one living thing into another. We have to ensure that future changes to the natural world will continue to be beneficial to us as a species and to do that we need to be a beneficial element of our environment. This is what the idea of Biophilia teaches us - to be mindful of not only our own lives but of life itself and respect the entire biosphere of this planet.

2020

Nature and Human

Oktay Barkin

Oktay Barkin

by

‘Microcosm’, an ink and watercolour painting on rice paper, is inspired by the biodiversity of Australia’s Great Barrier Reef, the largest living structure on earth where some 1625 species of fish swim among more than 450 species of hard coral. Its 2,500 individual reefs and 900 islands extend from the northern tip of Queensland down to south of Gladstone. I was born in North Queensland and would often snorkel in the reef, exploring the vast world of the sea in awe of its wonder. The physical work (measuring 130cm x 65cm) is painted on rice paper using traditional Chinese painting practices which I learnt as a research scholar under the instruction of Professor Dong Ya at Tianjin University, China. This work translates the vast natural territory of the reef most familiar to me with traditional Chinese aesthetics and methodology. I was delighted to find the traditional technique fuse so beautifully with this Australian subject matter. The work is painted from multiple perspectives, therefore can be viewed and displayed in either landscape or portrait format. The physical work was exhibited in Brisbane in my 2018 solo exhibition as the hero piece and was acquired by paper and Asian painting conservator Jennifer Loubser. This artwork was also translated into textiles by Japanese-Australian fashion designer Masayo Yasuki for her fashion label DOGSTAR. Creating this NFT ensures that, despite the delicate nature of rice paper and its ephemeral character, this painting will endure beyond its physical existence as pristine as the day it was completed.

2023

Microcosm

Georgina Hooper

Georgina Hooper

by

This piece embodies the relentless effort that played a crucial role in building a robust and long-lasting society from the ground up, battling against Nature. The artwork acts as a testament to the fundamental values and tenets that previously forged our civilization, underscoring the significance of self-discipline, persistence, and selflessness.

2023

Empire of Resilience

CharlesAI

CharlesAI

by

Landscape with Carbon Capture a été créé par zancan en novembre 2022 à l’occasion de la campagne #Artists4theLiving organisée par l’association à but non lucratif Culture For Causes Network en coordination avec l’UNESCO. Il s’agit d’une œuvre générative, ce qui signifie qu’elle a été créée à l’aide de code de programmation et de formules mathématiques. De plus, l’œuvre était accessible à l’achat pendant la campagne par les collectionneurs de NFT, qui pouvaient acquérir diverses versions de celle-ci, l’algorithme apportant des modifications à l’œuvre en temps réel. Ces pièces uniques montrent les possibilités passionnantes offertes par les outils numériques, inaugurant une nouvelle ère de créations artistiques qui captivent des communautés entières d’amateurs d’art NFT.

2022

Landscape with Carbon
Capture #6869. Courtesy of Paranew

Michaël Zancan

Michaël Zancan

by

Landscape with Carbon Capture a été créé par zancan en novembre 2022 à l’occasion de la campagne #Artists4theLiving organisée par l’association à but non lucratif Culture For Causes Network en coordination avec l’UNESCO. Il s’agit d’une œuvre générative, ce qui signifie qu’elle a été créée à l’aide de code de programmation et de formules mathématiques. De plus, l’œuvre était accessible à l’achat pendant la campagne par les collectionneurs de NFT, qui pouvaient acquérir diverses versions de celle-ci, l’algorithme apportant des modifications à l’œuvre en temps réel. Ces pièces uniques montrent les possibilités passionnantes offertes par les outils numériques, inaugurant une nouvelle ère de créations artistiques qui captivent des communautés entières d’amateurs d’art NFT.

2022

Landscape with Carbon
Capture #9900. Courtesy of Aramunu.eth

Michaël Zancan

Michaël Zancan

by

Co(r)ral is a generative art collection reminding us of the importance of gathering together to confine our impact on ecosystems. The collection consists of 100 unique artworks which were generated from a single algorithm on December 4th 2022. The collection looks to examine the theme of "reconciliation with the living" through the lens of coral bleaching. Coral bleaching occurs when coral is stressed, causing it to expel the colourful zooxanthellae that live inside the coral providing energy and nutrients. The most common cause of stress leading to coral bleaching is rising ocean temperature, although pollution can also be a factor. Between 1985 and 2018, 87% of the world's reefs experienced bleaching level heat stress and in March 2022 91% of the Great Barrier Reef was impacted by bleaching. If water temperature and other conditions return to normal then coral can recover from bleaching, rather than dying. Co(r)ral seeks not only to highlight the dramatic impact of coral bleaching but also to remind us that the damage can be reversed. The colours of Co(r)ral are inspired by the vibrancy of coral reefs and the rich marine life they support. In some pieces you can see rays of sunlight illuminating the scene, in others that light is occluded. There's a total of nine different colour palettes, each named for a type of coral: Bubble, Carnation, Gorgonian, Leaf, Pipe, Precious, Starlet, Sun and Vase. Colour is typically applied per layer but occasionally forms a gradient across the piece. Like the coral inspiring it, Co(r)ral is a dynamic artwork. Interacting with a live piece triggers an animation loop between its healthy, colourful state and its stressed bleach state. Clicking again will pause the loop. Each piece has an initial state which is either healthy, mixed or bleached, thereby reflecting the different states of coral reefs across the world. Just as coral can recover from bleaching if temperatures drop and conditions normalise so Co(r)ral loops between those states – a reminder of our responsibility to act to reverse the damage. Co(r)ral can be displayed in triptych to highlight the change in state. It can be displayed as a looping, live artwork or as a single interactive piece. When viewed up close, you can see the distinct dots that create the piece – with each artwork consisting solely of two to three million coloured dots.

2022

Co(r)ral

Phaust

Phaust

by

For years, I've been creating my "enchanted landscapes" series. This series of paintings is not an attempt to depict the forests or fields as they are. What I try to do is to bring onto my canvas a sense of a forest, a feeling of a field, a palpitation of a heavy mist, of a damp soil, and of a meadow that's like the warm back of some furry animal. For years I've been fascinated by the interlacing of the leafless branches of late autumn or early spring when leaves have fallen off or have not yet popped out of the buds. I see these netted twigs as an infinite, interconnected web that hides some veiled mystery, and I want to come inside, right into this spellbound meshwork. I create each enchanted landscape as if creating a mandala. Painting them is more of a meditation for me than anything else. There was a time in my life when I was going through a rough patch and everybody was calling me, asking me "How are you?" and "Are you doing all right?" to which my response was: "I am now OK, I'm painting a meadow". This meadow became the first painting in this series, although at the time I didn't know it would actually become a series, but it felt like I had finally found something that is really important to me. The year was 2012. I was quite young then, and it was a period of an intense search for my creative self. Sometimes I wanted to take on topics that had a social focus or do something conceptual. But now, when I create my enchanted landscapes, I think that if people were to listen more to the feeling one gets standing on a hilltop looking down at the fur-coated grasslands, or a bewitching sense of magic one feels entering an enchanted forest - sensations well-known to people of different cultures and social classes - then there will certainly be less evil on this Earth. Once, this November, I came to my favorite forest. The woodlands were moist and the forest was purple. The soil was rusty-red, crimsoned by the fallen leaves that had started to decompose. I looked at all this beauty and thought: "This is so sublime, that I wouldn't be sad to die and blend into this magical world." I paint my landscapes as patterns, as abstractions. I am not interested in exact physical likeness.

2020

Rivers and Shadows

Polina Kuznetsova

Polina Kuznetsova

by

When we create our brick-and-mortar city landscapes, we bring to life our personal, segregated world that is separated from the natural world that is the home of all the other living things. Biophilia is the idea of bringing the two worlds together, making them a single and harmonious ecosystem.

2020

The Skin of a City

Xiang Tianping

Xiang Tianping

by

Our planet is not a warehouse of resources for humanity to utilize or consume. It is our home and home for millions and millions more other creatures that share this world with us. But in addition to the planet's natural resources, it also has something that cannot be quantified - a sublime beauty that is all around us. All we have to do is choose to see it for ourselves.

2020

Biophilia

Hiroyuki Matsuishi

Hiroyuki Matsuishi

by

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