“Mural on Piotrkowska”

spacer po Łodzi 003-2Made by: members of Design Futura group, Lodz, Poland (Photo: Gosia Głowacka, January 2013)

Mural on Piotrkowska – a mural located in Lodz on the wall of the building at 152 Piotrkowska Street.

The idea to paint such a large mural was born in 2000 during the event “Colorful Tolerance”. The idea for this painting, which occupies 600 square meters, was approved in August 2001. Work on it started in September, and the whole project was completed on November 26. Initially the mural was designed under a working title “Boat Victorious,” showing a ship sailing on the ocean shortly after winning a battle with another, already sinking, ship. This idea, however, was modified, as initially seen as ”not urban enough, with too few elements typically associated with Piotrkowska Street“. The authors of the giant mural are members of Design Futura. To create it, 30m wide and 20m high, they used about 2,000 cans of spray paint. When finished in 2001, it was the largest mural in the world at the time, and today remains among the largest graffiti murals in Europe.


Atomium, Brussels 079Project: André Waterkeyna, Brussels, Belgium (Photo: Gosia Głowacka, April 2014)

The Atomium is a building in Brussels originally constructed for Expo 58, the 1958 Brussels World’s Fair. Designed by the engineer André Waterkeyn and architects André and Jean Polak, it stands 102 m (335 ft) tall. Its nine 18 m (59 ft) diameter stainless steel clad spheres are connected so that the whole forms the shape of a unit cell of an iron crystal magnified 165 billion times. It is a museum.
SABAM, Belgium’s society for collecting copyrights, has claimed worldwide intellectual property rights on all reproductions of the image via the United States Artists Rights Society (ARS). For example SABAM issued a demand that a United States website remove all images of them from its pages.The website responded by replacing all such images with a warning not to take photographs of the Atomium, and that Asbl Atomium will sue if you show them to anyone. Sabam confirmed that permission is required.[6]

Ralf Ziegermann remarked on the complicated copyright instructions on Atomium’s Web site specific to “private pictures”. The organisers of Belgian heritage, Anno Expo (planning the 50th anniversary celebrations of Expo 58), in the city of Mechelen announced a “cultural guerrilla strike” by asking people to send in their old photographs of the Atomium and requested 100 photoshoppers to paint over the balls. SABAM responded that they would make an exception for 2008 and that people could publish private photographs for one year only on condition they were for non-commercial purposes.

Berlin Wall on the eastern side

Berlin 095Graffiti on the Berlin Wall from the east, Berlin, Germany (Photo: Gosia Głowacka, December 2013)

East Side Gallery – the gallery-memorial for freedom created by artists from around the world on a part of the Berlin Wall with a length of 1316 m, located near the East Railway Station in Berlin.

The gallery consists of about 106 paintings. The first images were created by Christine Mac Lean in December 1989 after the fall of the Wall. Kasra Alavi, Kani Alavi, Jim Avignon, Thierry Noir, Ingeborg Blumenthal, and Ignasi Blanch Gisbert and others very soon followed her by creating probably the world’s largest picture gallery in the open air.

“Museum of Islamic Art”

Museum of Islamic Art, Doha 065Project: I. M. Pei, Doha, Qatar (Photo: Gosia Glowacka, April 2014)

The museum is influenced by ancient Islamic architecture, yet has a unique design. It was the first of its kind in Arab States of the Persian Gulf and has a very large collection of Islamic art, plus a study and a library. Sabiha Al Khemir served as the founding director of the museum from 2006-2008.
Occupying a total area of 45,000 m2, the museum is located on an artificial peninsula overlooking the south end of Doha Bay. Construction by Baytur Construction Co. (Turkey) was completed in 2006, but the museum’s interior was subjected to a variety of changes thereafter. The museum celebrated its VIP opening on November 22, 2008, and opened to the general public on December 8, 2008.
The museum’s architect was I. M. Pei. At the age of 91, Pei had to be coaxed out of retirement to undertake this enterprise. He traveled throughout the Muslim world on a six-month quest to learn about Muslim architecture and history and read Muslim texts to draw inspiration for his design. Declining all proposed sites for the museum, Pei suggested a stand-alone island for the structure in order to avoid the encroachment on other buildings. Thus it was built on the water, approximately 195 feet (59 m) off the Doha Corniche and surrounded by a park. Pei requested, further, that the museum spaces be designed by his collaborator on the Louvre project, Wilmotte & Associes, who then assembled a design team including Plowden & Smith (conservation consultants), Isometrix Lighting + Design (lighting consultants), SG Conseil (AV Consultants) under Turner Projacs. Along with this design team, Leslie E. Robertson Associates was the structural engineer for this project. (source: Wikipedia)


Prague 083Made by: David Černý, Prague, Czech Republic (Photo: Gosia Głowacka, August 2013)

One of his brilliant yet controversial creations is installed at the Herget Brick Works in Prague’s Lesser Quarter (in front of Franz Kafka museum ). The two bronze urinating figures, each 210 centimeters high, pee into an enclosure the shape of the Czech Republic while turning their upper torsos and raising their penises. The stream of water writes quotes from legendary Prague residents. If the viewer sends a text to the number shown next to the sculptural grouping, the figures will write the message.

“Digital Flower”

Gosia in China 1 044Made by: Philip F. Yuan, Shanghai, China (Photo: Gosia Głowacka April 2013)

Digital Flower was created during Digital FUTURE Workshop 2012 in Shanghai at the Tongji University by the leader Philip F. Yuan. He finished a series of “Digital Garden” projects with the help of workshop’s instructors and students. The series of “Digital Garden” projects are composed of four projects: “Digital Flower” is a landscape installation at the entrance of MoCA’s front square, it combines mathematical complexity with functionality of form, multi-dimensional space and abstract nature, it shows the designer understands for the garden of the future. “Mechanical Garden” is an interactive wall made by steel flowers at the gate of MoCA, it simulates a real garden with the use of Arduino technology; “Terrace Canopy” is a hanging net, which weaves a new relation between the city and the garden; “Terrace Landscape” is a landscape installation among the chairs on the terrace. Walking through the garden, people will be immersed in this multi-dimensional experience which takes them beyond the traditional understanding of beauty.

“Dancing Hause”

Prague 115Project: Vlado Milunića and Franka Gehry, Prague, Czech Republic (Photo: Gosia Głowacka, August 2013)

The Dancing House (Czech: Tančící dům), or Fred and Ginger, is the nickname given to the Nationale-Nederlanden building on the Rašínovo nábřeží (Rašín Embankment) in Prague, Czech Republic. It was designed by the Croatian-Czech architect Vlado Milunić in cooperation with Canadian-American architect Frank Gehry on a vacant riverfront plot. The building was designed in 1992 and completed in 1996.
The very non-traditional design was controversial at the time because the house stands out among the Baroque, Gothic and Art Nouveau buildings for which Prague is famous, and in the opinion of some it does not accord well with these architectural styles. The then Czech president, Václav Havel, who lived for decades next to the site, had avidly supported this project, hoping that the building would become a center of cultural activity.
Gehry originally named the house Fred and Ginger (after the famous dancers Fred Astaire and Ginger Rogers – the house resembles a pair of dancers)[2] but this nickname is now rarely used; moreover, Gehry himself was later “afraid to import American Hollywood kitsch to Prague”, and thus discarded his own idea.

The Dutch insurance company Nationale-Nederlanden (since 1991 ING Bank) agreed to sponsor the building of a house on site. The “super bank” chose Milunić as the lead designer and asked him to partner with another world-renowned architect to approach the process. The French architect Jean Nouvel turned down the idea because of the small square footage, but the well-known Canadian-American architect Frank Gehry accepted the invitation. Because of the bank’s excellent financial state at the time, it was able to offer almost unlimited funding for the project.[4] From their first meeting in 1992 in Geneva, Gehry and Milunić began to elaborate Milunić’s original idea of a building consisting of two parts, static and dynamic (“yin and yang”), which were to symbolize the transition of Czechoslovakia from a communist regime to a parliamentary democracy.

“Power of nature”

Monument of Women power, Doha 098

Sculptor: Lorenzo Quinn, Doha, Qatar (Photo: Gosia Głowacka April 2014)

The power of nature (sculptures were set up in many countries, starting with England and the USA and ending with Monaco and Singapore). The monument from the above photo is located in the Qatar amphitheatre in Doha, Qatar.

Italian sculptor Lorenzo Quinn witnessed the destructive power of the hurricane in Thailand, southern parts of the USA and many other places around the world. Inspired by these events, he decided to create a series of sculptures. Built of bronze, stainless steel and aluminum, full of life and energy, the personifications of Mother Nature – make the Earth rotate. The monuments are meant to remind us of the power of nature and what Quinn describes as “a false sense of security”. They show that at any given moment the anger of nature can be awakened, bringing with it sudden destruction.

(Source: https://kukulturze.pl)



Prague 088

Made by: David Černý, Prague, Czech Republic (Photo: Gosia Głowacka August 2013)

The ten dreamlike babies inching their way up the unconventional Žižkov Television Tower in Prague 3 were placed permanently on that eyesore during 2001. The grotesque infants are climbing a structure that jars the beauty of Prague’s skyline, a symbol of the Communist era, unable to reach adulthood, their growth stifled by this landmark of totalitarian rule. The outrageous babies also portray a bloated, surreal childhood. Some assert that Černý’s creations did not improve the looks of the Žižkov site: VirtualTourist.com even rated the TV tower as the second ugliest building in the world. Three bronze babies were also placed on Prague’s Kampa Island.