View allAll Photos Tagged Fluidity
I was drawing this after midnight and although calm the blackness is surfacing here. I almost didn't post it...but I'm determined to log and share my journey. Twigs, inks, water, brushes, crayons, graphite stick & a silver pen..and a cotton bud!
The gardens at Dyffryn were commissioned by Reginald Cory and designed by the famed Edwardian garden designer Thomas Mawson in 1906.
As a keen plantsman himself, Reginald worked collaboratively with Thomas to create this garden oasis. The majority of the gardens you see today are true to the original design. There was also a strong theme of experimentation and fluidity to the planting as Reginald was passionate about propagating and breeding many exotic and foreign species that he and others brought back from plant hunting forays all over the world.
The MKT depot was still putting out train orders here - yes, there is a train order signal in front of that car, which presumably belongs to the operator. This is also where the Katy crossed the MoPac's mainline from Kansas City to Little Rock and to Texas. The Union Pacific has chosen to put in a pair of power switch connections, enabling two mainline fluidity between KC and here.
From my first outing with the new Sony and the Tamron 70-300 w/Macro.
Thanks to all for your well wishes with my new toy. More powerful than I ever imagined.
I was going to post more Canon shots today (to be a smart as* as a few of you have been demanding a Sony Image or two).
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Strolling along the windswept seashore in a gentle drizzle, I decided to dabble again with ICM photography. The result? The waves, normally crashing with wild abandon, now danced gracefully in the frame, their edges softened by the gentle blur. The sea, shore and the sky melded into a symphony of pastel hues, reminiscent of soft whispers exchanged between old friends. The horizon, a smudge of pastel blues and pinks, seemed to stretch on forever, inviting me into its dreamy embrace. This photograph captures the essence of the seashore – ever-changing, yet timeless.
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يرجى كتابة روبنكاليكساندر [في] جوجل [دوت] كوم لاستخدام صوري. الرجاء عدم استخدام صوري بدون إذن صريح مني. تشكرات!
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In this extraordinary painting, a star of the National Gallery’s Canadian collection, Carr achieved the fluidity and grace of her works on paper, which she had executed in her improvised medium of oil paint mixed with gasoline. Here, though, she translated her experience of the forest and sky worlds into a sturdier medium with no loss of spontaneity or ethereal communion with her subject. The painting breathes.
Murmuration—named after the mesmerizing patterns formed by flocks of birds and swarms of insects—is the latest creation by Lalie Sorbet and Chrix. Part of a special SLEA Grant Residency from the Second Life Endowment for the Arts (SLEA), this immersive and organic experience continually reinvents itself. Nothing is static: dancing particles, animated textures, and random animeshes emerge to form ever-changing compositions. Each glance is unique, and each visit reveals a new facet of this evolving display.
Murmuration is a perpetually recomposing visual symphony, celebrating chance and fluidity. Every moment is a surprise, every appearance a fleeting poem. Let yourself be swept away… and become, for a breath, a particle in this infinite dance.
Photo of oil droplets from the oil & water macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. Mid November 2020.
Exposure Time: 0.3 sec. * ISO Speed: ISO-200 * Aperture: F/8 * Bracketing: None * Color Temperature: 4969 K * Film Plug-In: Fuji Velvia 50 * Adaptor: 1:1 Extension Tube
Ideas cascade like a waterfall, overflowing the reservoir of creativity within. A moment where inspiration mirrors the fluidity of nature, and I am both immersed and elevated. 💧
️✨ #CreativeFlow
Project 365 // Day 307
Today was a rough day, I had been feeling kinda sick the last few days, but this morning I couldn't even get out of bed. I stayed home and tried to rest most of the day, but my puppy Chiquita sure made that difficult, lol. I didn't want today's 365 entry to suffer just because I wasn't feeling well, so I spent a good chunk of time trying to think of something good. Water photography has been a real big interest for me lately, it's very challenging, unpredictable, but if you do it just right, it can produce amazing photographs. Today I decided to take my water photography a bit further, and really capture the movement and fluidity of water. The end result is something I am particularly proud of, because I had yet to this day achieved such perfect clarity and focus on such a fluid movement.
To see the complete Project 365 photo gallery, click here.
Copyright © 2011 Onigun Studio. All rights reserved. Follow me on twitter.
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
This is a detail image from one of my Fluid Paintings using Acrylic paints. You can see all of my paintings in full on my website at www.markchadwick.co.uk. Thanks for viewing! #fluidpainting
www.photoboxgallery.com/gallery/photo?photo_id=4058238526
Again, a North Uist beach at sunset. What I liked about this one was the sense of fluidity created by the interplay between the three elements, hence the title. Hope you like it :-)
Took this picture a while ago of a glass panel that, if I recall, was part of a local school project. I loved the mix of different contrasting colours and fluidity of the design.
The National Glass Centre is a great asset to Wearside, well worth a visit (and best of all, it's FREE entry!).
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
photo-painting! the movements you give to the camera emulates the stroking of a brush, and the world is your canvas.
captured while driving, giving this motion and fluidity. Croped and saturated colours. No PS ( i hate photoshop)...
És una intersecció viària dissenyada per a facilitar els encreuaments de vies i reduir el perill d'accidents.
S'entén per "rotonda" un tipus especial d'intersecció caracteritzat pel fet que els trams que hi conflueixen comuniquen per mitjà d'un anell en el qual s'estableix una circulació rotatòria entorn d'una illeta central.
La rotonda obliga a controlar la velocitat dels vehicles que la travessen, ja que el radi d'aquesta els obliga a no superar una certa velocitat (per a no bolcar), i en alguns casos ofereix prou fluïditat puix que permet d'evitar la necessitat de semàfors.
Rotonda a l'entrada de L'Estartit (Costa Brava) CAT. des de Roca Maura.
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Roundabout.
It is a road intersection designed to facilitate road crossings and reduce the risk of accidents.
"Roundabout" is understood to be a special type of intersection characterized by the fact that the confluent sections communicate by means of a ring in which a rotatory circulation is established around a central islet.
The roundabout forces to control the speed of the vehicles that cross it, since the radius of this one forces them not to exceed a certain speed (not to overturn), and in some cases it offers sufficient fluidity since it allows to avoid the necessity of traffic lights.
Roundabout at the entrance to L'Estartit (Costa Brava) CAT.
Couldn't decide which one i liked best .. this or the following one .. I think the 'passion' is perhaps a little better in this one
She walks between shadows and light, an evanescent silhouette in a dissolving world. Her gaze is concealed behind dark glasses, but one can sense a wandering thought, absorbed in an elsewhere that remains imperceptible to us. Each step seems to hover between past and future, between memory and promise.
The draped dress clings to her body like a relic of an ancient elegance, a fluidity that merges with the misty atmosphere of the road. Behind her, the contours of the world fade, swallowed by an indistinct blur, as if the very path hesitated to exist.
The image breathes voluntary solitude, a chosen exile in a deserted urban space. She carries her mystery like an armor, a living enigma slipping away, elusive, ephemeral. Perhaps she is a messenger of time, or a wandering spirit, always seeking, never anchored.
In black and white, time stretches, contrasts sculpt an alternative reality, an interstice between the tangible and the imaginary. She is not merely walking down a street, but through a memory, a dream, or perhaps a parallel universe that exists only in the instant of this image.
While I was taking this picture a photographer behind me was asking my son to point to the falls. It turned out that this photographer was taking pictures for the New York Times. She had my family sign waivers giving her permission to print her photo because the rest of us were standing next to my son and may end up in the photo. Now I just have to subscribe to the paper for the next few months to find it.
© All rights reserved. A low-res, flatbed scan of a 6x7 (2 1/4 x 2 3/4 inch) transparency
This image comes from a morning spent admiring and photographing the sights over the Golden Gate Bridge. The sun came up several minutes after this image was made and, while quite enjoyable, I wished it could have waited just a bit longer in order to prolong the salmon-colored glow.
I don't think I ever took a fog shot where the water seemed to blend with the fog as much as this one. Another thing that was amazing to me was how I found myself 100% alone at the much-visited Battery Spencer during the entire time from the pre-dawn light to sun-up.
Anyway, thanks for your interest!
Les six toiles monumentales de l’exposition ont été créées par Olivier Debré comme les composantes d’une seule et même série en 1990-1991. Le titre de l’exposition, dessinant un lien symbolique entre les Nymphéas de Claude Monet et les grands tableaux de Debré, évoque en filigrane toute l’histoire de l’abstraction du XXe siècle. Les œuvres tardives de Monet ont en effet été considérées par certains artistes – les expressionnistes abstraits, notamment – comme les premières manifestations d’une forme d’abstraction en peinture. « Les Nymphéas d’Olivier Debré » n’entend pas invoquer un rapport d’influence direct entre l’impressionniste et le peintre ligérien, mais propose de souligner la parenté conceptuelle de leurs processus de création respectifs.
L'exposition Les Nymphéas d'Olivier Debré permet de présenter au public pour la première fois et dans son intégralité, cette série déployant ses couleurs sur près de cinquante-cinq mètres. L’œuvre, supposant une dimension spatiale, réclame un accrochage singulier, permettant d’embrasser la peinture d’après plusieurs points de vue, d’une manière comparable à celle dont l’artiste percevait son travail à l’atelier. Il ne s’agit pas d’une représentation directe du fleuve, mais d’une interprétation de sa fluidité, de sa liquidité, proprement plastiques. Face à ces œuvres, le regard s’évade, s’épanouit, se promène au gré de la surface et se perd dans les jeux de transparence et de matière, tantôt sèche, tantôt humide. Car Debré ne travaille pas la matière uniquement pour frapper la vision, il donne à ses couleurs un relief tactile et une présence enveloppante qui se propage bien au-delà des limites de la toile.À la manière des Nymphéas de l’Orangerie, ces six toiles de Loire, parmi les plus grandes jamais peintes par Debré, forment une incroyable fresque presque ininterrompue de couleurs et de lumière.Juxtaposées dans la galerie blanche, elles supposent une immersion totale dans un paysage pictural mental et coloré que l’on pourrait qualifier de « wall painting »¹. Ce rapprochement inhabituel, cette suggestion sensorielle font de cet accrochage un grand spectacle.
The six monumental canvases of the exhibition were created by Olivier Debré as the components of a single series in 1990-1991. The title of the exhibition, drawing a symbolic link between Claude Monet's Nymphéas and Debré's large paintings, evokes the entire history of 20th century abstraction. The late works of Monet have indeed been considered by some artists - the abstract expressionists, in particular - as the first manifestations of a form of abstraction in painting. "The Water Lilies of Olivier Debré" does not intend to invoke a report of direct influence between the Impressionist and the painter Loire, but proposes to emphasize the conceptual relationship of their respective creative processes.
The exhibition Les Nymphéas by Olivier Debré allows to present to the public for the first time and in its entirety, this series unfolding its colors on nearly fifty-five meters. The work, assuming a spatial dimension, requires a singular clash, allowing to embrace the painting from several points of view, in a manner comparable to that of which the artist perceived his work in the workshop. It is not a direct representation of the river, but an interpretation of its fluidity, its liquidity, properly plastic. Faced with these works, the gaze escapes, blossoms, wanders at the whim of the surface and is lost in the games of transparency and matter, sometimes dry, sometimes wet. Because Debré does not work the material only to strike the vision, it gives to its colors a tactile relief and an enveloping presence which spreads well beyond the limits of the canvas. In the manner of the Nymphéas of the Orangery, these six paintings of the Loire, among the largest ever painted by Debré, form an incredible almost uninterrupted fresco of colors and light. Juxtaposed in the white gallery, they imply a total immersion in a mental and colorful pictorial landscape that could be described as "Wall painting" ¹. This unusual combination, this sensory suggestion make this hanging a great show
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
Twisting high above Floral Street in Covent Garden, the Bridge of Aspiration provides the dancers of the Royal Ballet School with a direct link to the Grade I listed Royal Opera House.
The award-winning design of skewed alignment and different levels of the landing points dictate the form of the crossing, which is geometrically and structurally simple. A concertina of 23 square portals with glazed intervals are supported from an aluminium spine beam.
These rotate in sequence for the skew in alignment, performing a quarter-turn overall along the length of the bridge. The result is an elegant intervention high above the street, which evokes the fluidity and grace of dance.
Structure
Barcelona Pavilion Mies - WikiArquitectura (35).JPG
The structure is created with eight steel pillars in a cross holding a flat roof. Complete the work a relieved from large glass structure and interior walls. The regular grid system developed by Mies not only serves as a pattern for laying travertine pavers , but also serves as an underlying framework of working systems for interior walls .
By raising the flag on a pedestal along with the narrow section of the site, the horizontality of the building is accentuated. The Barcelona Pavilion has a low horizontal orientation that is accentuated with too low flat roof that seems to float both inside and outside . This character is reinforced by the large overhang of the roof and the lightness of the steel columns that relate these levels and create an effect of weightlessness. The Pavilion define their spaces by orthogonal set of offset planes , the walls are arranged so as to generate an absolute spatial fluidity inside the building. Large windows draw the continuous outer boundary , thus declaring transparency, the idea of freedom and progress that reflect the German Republic was seeking at the time.
Roof
Barcelona Pavilion Mies - WikiArquitectura (6).JPG
Every aspect of the German Pavilion has architectural significance that can be seen in the advent of modern architecture in the twentieth century, however , one of the most important aspects of the pavilion is the roof. The low profile of the cover appears in elevation as a plane floating above the interior volume. The appearance of floating gives the volume a sense of weightlessness that fluctuates between the housing and the cover.
The roof is supported by eight slender cruciform columns that allow you to transmit the sensation of floating on the volume while freeing the interior to allow an open floor plan . Between indoor and projected outward opening canopy , a blurred spatial demarcation where inside becomes outside and outside to inside is created.
In this extraordinary painting, a star of the National Gallery’s Canadian collection, Carr achieved the fluidity and grace of her works on paper, which she had executed in her improvised medium of oil paint mixed with gasoline. Here, though, she translated her experience of the forest and sky worlds into a sturdier medium with no loss of spontaneity or ethereal communion with her subject. The painting breathes.
“They both listened silently to the water, which to them was not just water, but the voice of life, the voice of Being, the voice of perpetual Becoming.”
~ Hermann Hesse, Siddhartha
Water, is a great necessity, without it nothing can live. Only earth and water can bring forth a living soul. Such is the greatness of water that spiritual regeneration cannot be done without it.
Thales of Miletus concluded that water was the beginning of all things and the first of all elements and most potent because of its mastery over the rest. Pliny said "Water swallow up the earth, extinguishes the flame, ascends on high, and by stretching forth as clouds challenges the heavens for their own, and the same falling down, becomes the cause of all things that grow in the earth.
Water is a cleansing, healing, psychic, and loving element. It is the feeling of friendship and love that pours over us when we are with our family, friends and loved ones. When we swim it is water that supports us, when we are thirsty, it is water the quenches our thirst, another manifestation of this element is the rainstorms that drench us, or the dew formed on plants after the sun has set.
The power of the energy of Water, can be felt by tasting pure spring water, moving you hand through a stream, lake, pool, or bowl full of water. You can feel its cool liquidity; it's soft and loving touch, this motion and fluidity is the quality of Air within Water. This Water energy is also contained within ourselves, our bodies being mostly composed of Water.
As well as being vital for life, within the energy of this element is contained the essence of love. Love is the underlying reason for all magic. Water is love.
Water is a feminine element, it also the element of emotion and subconscious, of purification, intuition, mysteries of the self, compassion and family.
This image captures the mesmerizing spiral staircase at Hide Restaurant in London, a true architectural marvel. The warm wooden tones and the fluidity of the curves create an organic movement, leading the eye downwards to the intricate patterns of the circular floor design. It’s a symphony of woodwork that embodies both form and function, inviting viewers to ponder its craftsmanship and artistry. This staircase is not just a means to traverse floors; it’s a statement piece that accentuates the beauty of natural materials and sophisticated design.
Designed by Atmos Studios and beautifully crafted from laminated oak, this structural staircase resembles a tree truck branching upwards, creating a dynamic and organic centerpiece.
Due to the limited time of stay in London, I just dropped by Hide one morning and asked for the permission to take some photos of their renowned staircase. I remember the three-storey restaurant was fairly full during my visit. I regret having missed the opportunity of enjoying a lunch or dinner, or even a cup of coffee there, as I only found out much later that it’s got a Michelin star …and an impressive wine list. I think I’ll be back one day:-)