This case study was created for the Cultural Heritage in Transformation course from RWTH Aachen University.
Left, Collapsing ground in Division 26. Photo by Pierre-Yves Beaudouin for Wikipedia. Public Domain. Right, Tomb of Oscar Wilde with its protective glass barrier. Photo by Agateller for Wikipedia. Public Domain.
The main conservation problem of the Père-Lachaise is the fact that it is still in use, and managed as an ordinary cemetery. In the second part of this case study, I listed the non-economical values of the site, but its economical values are actually prejudicial to its heritage preservation. Indeed, funeral plots are first a financial windfall for the city of Paris. Because of its iconic status, the price of a plot at the Père-Lachaise is only affordable by wealthy families, a consequence not in line with the initial goal of the cemetery, which was to provide decent burial options to Parisians of middle and working classes. This is also causing a problem for the management of the burial ground, as French law requires abandoned graves to be emptied and destroyed to make room for new plots. This means that even if an ancient tomb has a recognized artistic quality, if it is considered in a state of decay by the city and if no one is ready to pay for the repairs, it is doomed to disappear. The city of Paris has no obligation to preserve the graves, and as the budget of its cemetery service is only allocated to the buildings belonging to the city, no money will go to repair abandoned tombs. In fact, the city is more interested in the economical value of the funeral plots, than in their preservation. This issue is not specific to Paris however, as it is influencing the conservation of cemeteries in the whole country.
For years, protecting graves at the necropolis has been an issue, as, according to French laws, they are regarded as private properties. As a consequence, and in spite of its internationally recognized artistic value, the cemetery only possesses a partial protection. A half of the total surface area is merely considered as a remarkable site, according to a law from 1930. This includes the buildings owned by the city (the columbarium and the crematorium) and some 19th century mausoleums of the Romantic Part, that are listed as historic monuments. If a grave isn’t in the protected part, it is the responsibility of the heirs. Yet, those are not free to take charge of their heritage preservation. Indeed, the requirements for its restoration are strict. The repairs must be reversible, approved by the ABF commission (Architectes des Bâtiments de France) and respond to the recommendations of the Conservation office of the Père Lachaise, in terms of technique, skilled workers and tools used, among other rules. So, conservation is usually made possible with the help of private associations organizing heritage volunteering (sometimes asking for a fee from the volunteers), but also thanks to patronage and crowdfunding for the tombs of celebrities. However, as a result, graves of anonymous or forgotten personalities can be threatened.
In one outstanding instance, a foreign state even had to take action. It is the case of writer Oscar Wilde’s monument, who was suffering of the damages made by chemical elements in the lipstick kisses left on the stone by fans. The problem was known since 1989. Yet, the Irish Department of Foreign Affairs had to send Irish stonemasons to restore the monument, because French government didn’t want to allow a budget to a foreigner’s tomb. As Irish officials were concerned that more damage would be made by the visitors and vandals after the cleaning, the tomb was placed behind a protective Plexiglas case. It was only in 2011, after the repairs were made by another country, that the French Monuments Historiques launched a classification of Wilde’s grave as an historic monument. The intervention of a foreign country in the conservation of the Père-Lachaise is not anecdotal; since 2006, the Polish government is restoring 180 tombs belonging to its compatriots.
Another issue when it comes to elaborate a strategy to protect the Père-Lachaise is that, due to the private property status of the tombs, no cadastral plan is available, nor information on the funeral plots. Indeed, these details are falling under privacy laws. It is thus difficult to find the right interlocutors to build a suitable project of conservation. To help with this shortcoming of the system, positions of cemetery historians and heritage curators are developed. They would ensure that functional specifications are followed, both by the city, the region and the state. Also, they would lead to better studies on the relationship between the cemetery and the city, with adjustments necessary to a coexistence between “deathscapes” and contemporary living. This project would also lead to a more accurate legislation, which would be a meaningful achievement in historic preservation.
References:
Base Mérimée (French Architectural Heritage Inventory). French Ministry of Culture.
This case study was created for the Cultural Heritage in Transformation course from RWTH Aachen University.
Paris from Père Lachaise, Massena’s Monument, engraving by William Miller after J.M.W. Turner, published in The Miscellaneous Prose Works of Sir Walter Scott, Bart, 1834–1836.
The first non-economic value of the Père-Lachaise cemetery is certainly its architectonic values, as it displays a representative sample of various styles from early Roman times to the present, in just one place. Indeed, the design of buildings, chapels and tombs demonstrate the eclecticism of 18th and 19th century architectural tastes. These include Gothic, Romanesque, Neoclassical, Neo-gothic, Neo-Byzantine, Italian Renaissance, and Art Nouveau, but also more anachronistic Roman-style cenotaphs as well as Egyptian revival pyramids and obelisks.
The creator of the cemetery, Alexandre-Théodore Brongniart was a landscape architect. This explains why it is the world first garden cemetery, but also its urbanistic value. Indeed, the Père-Lachaise was conceived as a necropolis, a “city of the dead”, with an urban layout of streets and directional signs. By preserving the original topology of the natural site, Brongniart also provided an inestimable green space to the ever-expanding French capital.
The third noteworthy value of the cemetery is certainly artistic. Numerous works of art are visible in the alleys, from stained glass windows to paintings. Many art historians are even considering the site as an open-air museum for 18th and 19th century sculpture. The statues of the Père-Lachaise have an important place in the history of funeral and commemorative art. Indeed, they are showing a significant aesthetical schism; the usual figures in classical costumes and postures were soon replaced by modern representation of the deceased with their contemporary clothes and attitudes.
This observation is tightly linked to three other non-economical values, the historical, social and ethnological ones. The Père-Lachaise Cemetery is considered a revolution in funerary practice, and this revolution is at the heart of French society’s evolution. Before its creation, cemeteries were usually located next to Catholic churches in France, alienating other faiths and individuals rejected by the Roman church. The Père-Lachaise Cemetery was thus one of the first French cemetery to accept Jewish burials, and the very first one to welcome Muslims.
Cemeteries were also the privilege of upper classes, when lower ones were relegated to anonymous mass graves. Thanks to Napoleonic laws, every individual was allowed the right to a dignified burial and grave, regardless of social position or faith. This was especially a great step for middle and working classes, who were given the opportunity to give their family permanent plots and graves. This freedom was disruptive to French social hierarchy. It allowed to celebrate the legacy of the deceased, with artworks celebrating their lifetime achievements in arts, sciences and techniques. Such artistic graves were made possible by public subscriptions, and helped the Père-Lachaise Cemetery to welcome prominent residents, who attracted educated visitors. The site embodied the modernization of French society in the 19th century, and for this reason, became a political symbol.
As, yes, the historical value of the necropolis is highly political. Due to its ties with Paris history, the site has always been a place to contest the government in power. During the Paris Commune, the 1871 revolution, it was the target of anticlerical vandalism and antimonarchist protests. It was the main place of the “Week of Blood”, where hundreds of protesters of the Commune were killed during fights with the army and 147 of them executed against the cemetery’s wall (now remembered as the Communards’ Wall). At the end of the 19th century and the beginning of the 20th century, protests were forbidden in the streets of Paris, and held inside the cemetery. This later convinced authorities to allow worker’s movements and protest marches in the capital.
So, it is important to preserve all these values. The Père-Lachaise Cemetery is an influential model, both in terms of art and of human history. As a garden cemetery, filled with art and architecture, it inspired many other cemeteries of the same type, for example, London’s Highgate, Mount Auburn in Boston and Greenwood in Brooklyn. Moreover, it helped to spread inclusion, equity and freedom of conscience in French society. Finally, it is a strong symbol of the independence of French citizens toward their government. As such, it deserves to be protected, to carry this message to future generations.
Among this impressive display of qualities, it would be quite easy to neglect some heritage features of the Père-Lachaise Cemetery. Its scientific value, for example, is not evident. Of course, many scientists are buried on the site. But the cemetery itself is a testimony of scientific evolution. We have to remember that, for a long time, burial grounds were also considered health hazards. Constructed at a distance from cities, they were only visited for mourning. The existence of the Père-Lachaise was an experimentation, at a time when human remains were usually hidden, in places like the Paris Catacombs. As Paris’ main natural space, it also holds an important ecological value. The monitoring of its natural species is a useful way to evaluate the state of pollution of the French capital, and a way to battle it.
Another neglected aspect of the Père-Lachaise, in my opinion, is its status of public space. Even if it is considered a touristic site and a museum, French culture still regards it as a dead space. Of course, it is an active burial ground. But in other countries, cemeteries can also be considered as places of life, especially social life, and used like parks. You can picnic at Assistens Cemetery in Copenhagen, and go to concert and movie projections at Hollywood Forever Cemetery in Los Angeles. At a time when museums are exploring performative culture, a place like the Père-Lachaise, with its combination of art and history, should be able to resonate more closely with our contemporary relationship with culture.
The key question while exploring these two neglected aspects is the following: should we update the categorization of the Père-Lachaise Cemetery as a burial place only? Its existence itself was a revolution in many areas, from funeral practices to class struggles. Wouldn’t it be logical to use it as a way to reform our vision of art and of death, and to accept the life provided by cemeteries? A simple method to highlight this potential would be to relax the rules of use of the Père-Lachaise. If it was a more open site, we would be able to explore its ecological potential, and offer a new place to share culture, both to Parisians and visitors. Furthermore, opening the necropolis to living scientists, artists, scholars and social actors, could attract attention and sponsors to help preserve this fascinating heritage.
References:
Base Mérimée (French Architectural Heritage Inventory). French Ministry of Culture.
This case study was created for the Cultural Heritage in Transformation course from RWTH Aachen University.
Left, detail of a caryatid on a private chapel; right, an alley of the cemetery. Pictures by Jennifer Gori.
The Cemetery of the East, better known as the Père-Lachaise Cemetery is located in the 20th arrondissement of Paris, capital of France. With 3 million and a half of visitors each year, it is the most visited cemetery in the world, and also the most famous. Its history can be traced back to 1430, when it was originally a private property, before becoming a religious estate. In 1762, it was sold to the prefect of the Seine area, and was transformed into a public park in the 19th century. When a law was passed in 1765 to forbid burial grounds in the then intra muros Paris, the domain was selected to become a cemetery. It later took the name of Louis XIV’s confessor. French architect Alexandre-Théodore Brongniart was entrusted with its conception in 1804, but at first, its situation, far away from the city, prevented its development. It was only after 1815, when the prefect decided to move the remains of famous French writers Molière and Lafontaine, as well as the ones of iconic lovers Héloïse and Abelard, that the cemetery finally gained popularity, both for burials and visitors.
Plan of the cemetery in 1813 by Alexandre-Théodore Brongniart. Public Domain.
The main entrance, built in 1825 by architect Étienne-Hippolyte Godde, is of neo-classic architecture, showing the early connections of the site with architecture and art. It also became intertwined with the history of the French capital, as a critical location during the revolution of the Paris Commune in 1871. Several improvements were made during the last part of the 19th century and the beginning of the 20th century, including the addition in 1886 of a columbarium and of a crematorium. The neo-byzantine buildings were created by architect Jean-Camille Formigé. Some repairs were also needed after the damages caused by World War II. As of 2021, the Père-Lachaise Cemetery is still in activity. It is stretching on 43 hectares, making it the largest natural site of Paris. It contains more than 400 natural species, some of them rare and endangered. It counts 70000 funeral plots as well as numerous war and historical monuments dedicated to artists, religious communities and victims of Nazism.
State monument for the Franco-Prussian War, picture by Jennifer Gori.
The Père-Lachaise Cemetery has got an important place in French and International Cultural Heritage. Many art historians consider it as a museum for funeral art, especially its “Romantic Part”, known both for its aesthetic appeal and numerous tombs of internationally acclaimed artists. The Cemetery of the East doesn’t only have a tangible artistic value, its influence is also intangible, as it has inspired many other art forms, from literature and music to cinema and video games.
Left, a decaying statue; right, a broken stained-glass window. Pictures by Jennifer Gori.
Yet, its protection and conservation are problematic. Exposed to the elements and the ravages of time, many sculptures, tombs and monuments are abandoned and decaying. The Père-Lachaise is partially protected by the Monuments Nationaux (French National Monuments Centre) since 1983, but only the buildings and common parts are the responsibility of the City of Paris and its maintenance department (Direction des espaces verts et de l’environnement aka DEVE). Indeed, funeral plots are still considered as private properties, even if the descendants are not able to ensure restoration, or deceased. Attempts have been made to protect some tombs considered of public artistic interest, but without concrete results. For example, the grave of British writer Oscar Wilde (built in 1911-1914) received a request for preservation in 1991, before being annulated. Since 2008, no further attempt has been made to fully protect and renovate the site on a local, national or even international (UNESCO) scale.
References:
Base Mérimée (French Architectural Heritage Inventory). French Ministry of Culture.
Have you ever had a feeling of déjà vu when stumbling into an art photograph? If yes, you know and perhaps enjoy cinematic photography. This genre of art photography is inspired by cinema, the aesthetics or atmospheres from movies, giving you vibes from LA noir, moody Asian drama to Wes Anderson comedy. A cinematic photograph looks like a frame from a film you think you know, but usually, it embodies the very idea we have of cinema, a kind of refined, glamourous or mysterious mise-en-scène.
To change things a little bit, I’ve decided to match each entry of this selection of gorgeous pictures with a film recommendation. They are movies I enjoyed and which aesthetics are similar to the atmospheres of the photos I’ve chosen. It could be the occasion to discover some good flicks, to give them a second chance or even, to watch them again, just for the pleasure…
This is Halloween, this is Halloween! Some of us has been waiting for this day all year, and even if 2020 is quite a nightmare on its own, it won’t prevent the Halloween enthusiasts to celebrate their love for scary aesthetics, horror movies, regressive food and, of course, dark art. So, in order to put you in the mood for tomorrow, and maybe to comfort you for the absence of trick-or-treating this year, I have gathered some of my current favorite pieces of dark photography as a treat for you. Gloomy ghost towns and haunted houses, eerie costumes and witchy creatures, these pictures will bring back the old spirit of Samhain and awake your dark side… let’s be creepy!
Note: I wrote this academic essay within the scope of « How to Write an Essay », a course of study offered by BerkeleyX, an online learning initiative of University of California, Berkeley. For this reason, it is intentionally provocative.
1- Introduction
A- Background details
The time we are living in is described as the Anthropocene Era by scientists. This era is characterized by the significant impact of human activities on earth’s ecosystems. One of these problematic activities is also one of the main prides of humanity, namely Architecture. Indeed, according to the International Energy Agency, buildings account for 36% of global energy use. In the United States, 43% of carbon emissions and 39% of total energy use is attributed to the construction and operation of buildings. The environmental impact of architecture is even more consequential when greenhouse gas emissions are taken into account, associated with the manufacturing of building materials. So, yes, concerning the endangerment of the planet, humanity is the root of the problem. But as humans are clever beings, they can also be part of the solution.
This is where the concept of sustainability emerges. It means meeting the needs of the present without compromising the ability of future generations to meet their own needs. If you observe this definition, you can compare it with the goal of Historic Preservation. Indeed, what is Historic Preservation other than meeting the needs of today’s restoration in order to allow future generations to enjoy world heritage sites? Obviously, environment and preservation should go hand in hand, in a clever way.
“A 1980s house uses no less energy than a Victorian one does today. We urgently need to have a totally different philosophy, and to make the jump to buildings that use almost no energy. […] No one would accept the same level of performance from a car or airplane built today as one built 60 years ago. Yet in construction, this is seen as fine.” Said Professor David Coley of the University of Bath. Granted, humanity can do better. The past decade has seen some advance in “green” building. Yet, new construction was the main focus until now, leaving the preservation and adaptability of ancient buildings behind, and not just because reconciling sustainability and historic preservation in practice poses certain challenges.
Undoubtedly, in a world where ecology has become a central component of decision-making, decision-makers need to rethink architectural restoration to include environmental safety and sustainability as main criteria when weighing up the advantages and disadvantages of renovating historic buildings. Ecological requirements should be mandatory to help them decide which landmarks and architectural structures are worth saving and which are not, because their remodeling would generate pollution. To put it another way, not all old buildings should be saved, only the ones that could be part of a clean future.
First, historic preservation should avoid to be tempted by the trap of modernization. Contemporary architects and students in architecture tend to favor complex and futuristic designs. Unfortunately, many remodeling projects of historic landmarks involve new materials and techniques that produce pollution and don’t respect the ecological potential of an ancient building.
Secondly, the ecological hazards of renovation are often overlooked. Indeed, many materials used by ancient builders have been recognized toxic for human beings and for nature; manipulating them again could be a threat for health and earth.
Furthermore, the renovation project should not only prove its utility to the cultural life of a city, but also calculate the impact it will have on its urbanism, including the negative effects of tourism. Humans need to understand that with climate change, preservation is a sustainable gambling. In conclusion, contemporary curators need to find a way to save art without endangering the planet, by using technology as well as their wisdom.
As Canadian-American activist Jane Jacobs stated, “Old ideas use new buildings; new ideas use old buildings.” Perhaps preservationists don’t need to change historic buildings, but they need to change their view on architecture. It is not an aesthetic game, but a serious part in the emergency plan to save the planet. According to the US Energy Information Agency, buildings constructed before 1920 are more energy efficient than the ones built between 1920 and today. This is because of embodied energy. It is a measurement of energy used in the building process, from the extraction of raw materials to the final installation of the finished ones. According to a study commissioned by the federal Advisory Council on Historic Preservation, “About 80 billion BTUs (British Thermal Units) of energy are embodied in a 50,000 square-foot commercial building, the equivalent of about 640,000 gallons of gasoline”.
So, preservationists like M&A Architectural Preservation argue that remodeling ancient structures is better for the ecology than building new ones, which, even if built with 40% recycled materials would need about 65 years to recoup the energy lost in demolition and new construction. It is true in theory, but in practice, you see more projects annihilating the ‘green’ advantages of ancient buildings, carried away by the lure of contemporary designs. If the demolition and replacement of an old building is a waste of energy, its upgrading with a new design will also produce unnecessary carbon emissions. As an illustration, one trend can be highlighted, one that seems to ignore the previous data: building modern structures on top of an ancient one. For example, you can observe the Union of Romanian Architects of Bucharest. A contemporary structure with a glass wall has been added on top of a classical three-story building, turning it into a high-rise. If you add modern elements to the embodied energy of an old building, you add new, unwanted energy, destroying all the benefits of renovation.
Today’s obsession with glass walls and large, contemporary windows is especially detrimental to sustainability. New windows only last an average of 10-20 years. They are usually made of vinyl and aluminum, which are not biodegradable or easily recycled, and even considered toxic by ‘green’ building standards. In many preservation projects, windows are one of the first elements changed by architects, either for thermal insulation or aesthetical reasons. For instance, the remodeling of Sant Francesc Church of Santpedor, in Spain, included the addition of several windows and glass walls that were not planned in the original design, which had limited openings. As a result, this building is now producing more energy than its embodied one. I
n contrast, the rehabilitation of the Linde + Robinson Laboratory for Global Environmental Science at the California Institute of Technology in Pasadena embraced the original architecture, repurposing a historic astronomical instrument using mirrors (a coelostat) to improve lighting, leading to a reduction in energy use. As Polish-American architect Daniel Libeskind said, “To provide meaningful architecture is not to parody history but to articulate it.”
Ancient architects naturally used natural daylight, ventilation and solar orientation as well as traditional, durable materials such as stone, wood, glass and metal. Properly maintained, their designs can have a much longer lifespan, so they don’t need to be modernized. In fact, if old materials and features are not fixable and require new ones to make the building usable, the project of rehabilitation is not only useless but “ignorant” of the ecological context.
Ancient materials are the main problem of renovation. Indeed, most of them are rarifying (e.g. wood) or use highly polluting, even toxic processes. With time, scientists were able to understand their danger and have stopped and banned their use. Yet, when it comes to restoration, workers have to deal with them again. Sometimes, accidents help to realize how tricky Historic Preservation can be in our contemporary world. The fire of the Notre Dame Cathedral in Paris, for instance, seemed to have been provoked by a technical failure during the renovation works of its roof. This disaster not only threatened to destroy one of the most important world heritage sites and required extra costs and energy for its rescue and reconstruction, but it also created an important lead pollution in the vicinity of the landmark. Of course, this is only an accident. However, most of ancient European buildings contain lead, a heavy metal and neurotoxin which damage the nervous system.
For that reason, ‘green’ remodeling is challenged by the dust and wastes created by the removal of paintings and the cleaning of surfaces. Therefore, the handle of lead’s toxicity is often the main concern of European preservationists. It was the case during the remodeling of the Pantheon in Paris. Architects were aware of the presence of lead and they feared local pollution. It would also be inhaled by workers during the cleaning of the facades. This already happened during the restoration works of the dome of the building, as revealed by occupational medicine. Analysis in the covered scaffolding revealed the presence of lead on the facings due to the air pollution of the capital by this metal. It was therefore impossible to continue the construction site without an adaptation to this phenomenon. The non-cleaning of the stones was even considered. Finally, architects used a technique called the ‘poultice’ technique which limited the propagation of lead in the area. However, further analysis still found harmful residues in the renovation site. Despite all the precautions taken, the scaffolding itself was polluted, requiring specific cleaning.
In brief, the Pantheon’s experiment was conclusive; new techniques were developed and specialists had the occasion to take better account of the lead risk. Yet, the techniques used on this landmark are not reproducible without prior studies and tests on other sites, not without enormous costs and risks. Moreover, there is a data architects and preservationists cannot foresee; it is of course the evolution of the air pollution in cities and its impact on ancient buildings.
American environmentalist Al Gore once said that “Pollution should not be the price of prosperity.” And yet, there is no denying that our contemporary way of life is certainly more harmful to the ecosystems than our ancestors’ way of life was. Humans have welcomed elaborated technologies in their everyday lives and the place of mass tourism has considerably increased in the habits of worldwide population. These two factors share a major responsibility in our carbon print and in climate warming. In addition of these unsustainable behaviors, the society is not only in denial of ecological emergency, but it also stubbornly sees architecture, especially the ancient one, as a token of a country’s prestige. Consequently, preservationists usually avoid making tougher choices when it comes to past’s preservation. The importance of a heritage site can be subjective, but historic preservation urgently needs to decide which is superior: its environmental value or its artistic value. Of course, a balance is ideal.
On top of adhering to current urban codes, seismic safety standards and ADA requirements, rehabilitation projects have trouble meeting the needs of modern-day users, which are responsible for 50% of carbon emissions (server rooms, air conditioning, etc.). To avoid this, architects could use post occupancy evaluation, in other words, to check if the building operates as it was meant to, with all the constraints of the modern world taken into account in the prediction of energy efficiency. But evaluations are often underestimated and evolving measures are forcing preservationists to reconsider whether it is wise to adapt historic buildings to our modern world. In prosperous countries such as France, huge renovation works are greenlighted for ruins or unknown landmarks. These projects end up creating unnecessary new buildings with ridiculous energy costs and generating useless tourism. Their impact on cities, countries and their populations is merely negative on an ecological standpoint and, let’s be honest, worthless on an artistic standpoint. Then, historic preservation has something of gambling, which is both irresponsible for the future and disrespectful for art.
Besides, if art historians need to ask themselves if our heritage could hurt the environment, they should also ask if pollution could hurt our heritage. Let’s take the century-old city of Cracow in Poland, one of the most polluted cities in the world, as an illustration. During numerous restauration works, local conservators drew attention to the fact that recently discovered, valuable polychromes were exposed to the harmful effects of the city’s pollution, condemning them to rapid degradation and generating serious issues for the future use of the renovated buildings. That is to say that the extent of Cracow’s pollution is limiting its whole remodeling process.
Of course, some conservators argue that new restoration techniques could balance degradations, but this idealistic view of Historic Conservation neglects the accumulation of preexisting technical and financial difficulties in the work in progress and the fact that pollution can turn into a synergistic process. Without a drastic improvement of Cracow’s air, all the preservation work will not be effective and institutions cannot afford to lose time and energy. To put it another way, scientists cannot genuinely predict how the climate will evolve and how the pollution generated by today’s urban activities will impact cities. So, humanity needs to sacrifice the past in order to ensure a future.
Having and sharing a heritage is important. But merging green design with restoration is not a fad. Architects and art historians need to keep their feet firmly on the ground when renovating. This is not just about respecting the artistic and energetic integrity of historic buildings. In fact, this is about giving up selfishness. Humanity presently enjoy both superb natural landscapes and incredible manmade landmarks and shouldn’t prevent future generations to enjoy them too. Yes, because if institutions don’t realize that sustainability and historic preservation are sharing the same goal, they are going to jeopardize all these treasures. In an ideal world, they would be able to keep every architectural construction people find aesthetically pleasing or culturally important. But the current conditions are far from ideal, and they need to face the reality. Humanity’s actions can destroy its resources or, if it is wise, they can help to save the most valuable ones.
The best approach is to determine which ancient buildings are meeting the cultural needs of both our contemporaries and our descendants. Then strategies can be devised to minimize the ecological impact of remodeling by verifying the building’s inherent green qualities.
First, decision-makers should develop new building codes to integrate preservation with energy efficiency based on performance rather than prescriptive requirements. Secondly, a better collaboration is required between preservationists, government officials and ecologists to avoid problematic projects and ensure successful results. And, by all means, architects need to do more research on sustainability before taking the decision to repair and maintain a structure. Restoration should be motivated by reason rather than emotion, now more than ever.
Without doubt, historic preservation has a lower climate impact than new construction. So, we need to grant more importance to this part of our activity. It could be the key to sustainable development, and even give a new lease on life to our vision of contemporary and future architecture.
M&A Architectural Preservation Lawrence, MA (2018). “Sustainability and Historic Preservation”. M&A Architectural Preservation Website. Online.
Washington State Department of Archaeology and Historic Preservation (2011). “Sustainability and Historic Preservation; Sustainability Report.” DHAP.Wa.Gov. Online.
Sedovic, Walter and Gotthelf, Jill (2005). “What Replacement Windows Can’t Replace: The Real Cost of Removing Historic Windows”. APT Bulletin: Journal Of Preservation Technology. Vol. 36 No. 4. Online.
Cooper, Deborah (2010). “Reconciling Preservation and Sustainability”. The Journal of the American Institute of Architects. Online.
Lefèvre, Daniel and Caillault, Pierre-Yves (2017). « Le Plomb dans l’édifice : protéger les hommes et conserver les monuments ; Conclusions de la Journée technique organisée par ICOMOS France, le Laboratoire de recherche des monuments historiques (LRMH) et la Compagnie des architectes en chef des monuments ». Bibliothèque Numérique d’Icomos France. Online.
Sowa, Kazimierz (2007). « Dégradation et restauration d’un patrimoine culturel : Cracovie ». Strates. Online.
Happy World Architecture Day! To celebrate the first art form of humanity (according to Hegel), I’m offering you a selection of movies. Filming locations and sets are certainly important for cinema, but sometimes, architecture can be a meaningful part of a movie, either playing a role, creating a specific atmosphere or even foreshadowing the plot. This selection is personal, of course. I think that these movies could be of interest for architecture lovers, both for entertainment, intellectual and aesthetical curiosity but also as food for thoughts about the role of architecture (and architects) in today’s world. But mainly, they are meant to spend a good time in fall and winter’s dull afternoons and evenings, watching elegant buildings and enjoyable designs.
Movies and The City
Most of the movies in this section could also appear in the Social Issue section of this article as class structure is usually an underlying theme of urban-set movies. Cities are indeed a great way to study societies, historical evolutions as well as artistic development. In movies, they can be more than a location and a set, they could play a part and influence the atmosphere.
1&2. Blade Runner / Blade Runner 2049
The Architecture: In Blade Runner, if the city of Los Angeles receives a dystopian treatment, the locations chosen are highlighting its architectural heritage, especially with the Bradbury Building and the Ennis House, the 1st an icon of Romanesque Revival, the 2nd a wonder of Mayan Revival by Frank Lloyd Wright. In the 2nd movie however, not only the class structure theme is blurred behind sci-fi romanticism, but LA is just theorical. Indeed, the Villeneuve’s movie was not filmed in California at all. The second problem is the use of Brutalism in the futuristic set design. Brutalism indeed seemed futuristic when Le Corbusier played with « beton brut », but still considering it futuristic in 2017 (and even more in 2049!) is quite a lack of imagination. This point aside, we make do with this aesthetic, and the scene in the Exchange Palace of Budapest, with its Beaux-Arts architecture is wonderfully atmospheric.
The Movies: ⭐⭐⭐⭐ For lovers of dark poetry and slow, aesthetical movies
3. Brazil
The Architecture: You can trust Terry Gilliam for originality, and the set design of his futuristic city is breathtaking. A special mention for the terrific Espaces d’Abraxas, a Postmodern building by Ricardo Bofill in Noisy-le-Grand near Paris, France.
The Movie: ⭐⭐⭐⭐ A weird dystopian comedy
4. Good Bye Lenin!
The Architecture: This bittersweet comedy explores how we can read History on the buildings of a city. The movie uses the contrast between society’s evolution and Berlin’s fixed architecture. The East German aesthetic is visible with views of the Karl-Marx-Allee and the Kino International, a mid-century movie theatre near Alexanderplatz. The overall Ostalgie (the nostalgia for Communist Germany) of the story should really give architects food for thoughts about the historic/societal flexibility of urbanism.
The Movie: ⭐⭐⭐A witty comedy
5. Inception
The Architecture: Architects always add something interesting to a plot, and indeed, this movie by Christopher Nolan doesn’t lack of interest. Of course, architecture here is paradoxical. The main example is the M.C. Escher’s Penrose Stairs inspired staircase scene. The bending of Paris’ Haussmannian buildings is also very impressive. Yet, again, in the same fashion as Blade Runner 2049, the architectural imagination is weak. When you can create anything, why would you stick to buildings from the past such as the Department of Water and Power building, designed by AC Martin and Partners in 1965?
The Movie: ⭐⭐⭐ Visually stunning and creative story
6. Metropolis
The Architecture: In 1927, Fritz Lang is inspired by the Höchstadt, the vertical city of Ludwig Hilberseimer, as well as of Auguste Perret’s tower-cities. His Babylon Tower-like city is mixing Art Deco, Expressionism, Bauhaus Modern and Gothic in an unforgettable way.
The Movie: ⭐⭐⭐⭐ An old-school masterpiece
Architecture and Social Issues
From rags to riches is a classic theme for a story, and nothing says more on social issues than architecture. From poor protagonists finding their place or doom in luxurious places to suggested unbreakable walls, directors know how to use locations to tell their message.
7. Crazy Rich Asians
The Architecture: A romantic comedy is not an obvious choice for an architectural discussion, but a shrewd eye will reveal some interesting finds. The stunning Tyersall Park, for example, a 19th century estate in the botanical gardens, or the contemporary Marina Bay Sands by Moshe Safdie as well as the Supertree Grove, are showing an extensive view of Singapore’s architectural wealth. The Peranakan design and architecture are also superb.
The Movie:⭐⭐⭐ Bling Rom-Com for Great Gatsby lovers
8. Knives Out
The Architecture: I have a weakness for the Gothic Revival mansion that is used for the exterior of Harlan Thrombey’s manor as well as for the Georgian/Colonial Revival of the Ames Mansion used for the interiors. But let’s not forget the Mid-Century-Modern house designed by Walter Pierce chosen for Chris Evans’ character Ransom.
The Movie: ⭐⭐⭐ Pimp my Clue(do)
9. Le Mépris (Contempt)
The Architecture: The movie starts in the derelict Cinecittà, the iconic studios of Italian cinema, then moves on in a modern high-rise before reaching its climax in the stunning Villa Malaparte, abandoned at the time of the shooting. This building, created by Adalberto Libera is especially remarkable for its staircase roof, serving as a clever symbol for the characters’ social quarrel.
The Movie: ⭐⭐⭐ Enigmatic film d’auteur with Brigitte Bardot
10. The Neon Demon
The Architecture: The movies plays with contrasts. From a gloomy motel in Pasadena to a contemporary house by the beach in Malibu, from cold Industrial spaces to a trippy Neo-Baroque palazzo, the lethal ascent of an ingenue in the model industry is transcended by a serie of fascinating interiors.
The Movie: ⭐⭐⭐Not your typical horror movie/project Runway episode
11. Parasite
The Architecture: The house of Parasite is the main character of the movie. Conceived by director Bong Joon-Ho, it has been brought to life by production designer Lee Ha Jun, and not by Namgoong Heonja, the fictional architect of the story. But we can spot many influences from famous architects in the Park House, from Mies van der Rohe’s Barcelona Pavilion to Richard Neutra’s Kaufmann House.
The Movie: ⭐⭐⭐⭐⭐ The ultimate architectural/dark comedy masterpiece
Movies and Old Stones
Archicture doesn’t always have to be modern and ancient places are certainly giving style to any kind of story. The following flicks are for those who think architecture is a blast from the past.
12. Crimson Peak
The Architecture: To create Guillermo Del Toro’s haunted house, production designer Tom Sanders made the most of Gothic Revival and the result is magnificent. You can’t take your eyes away from this dark three-story McMansion.
The Movie: ⭐⭐⭐ Style over substance fans only
13. Emma.
The Architecture: If you are a sucker for ancient British architecture, you will feast your eyes upon the Elizabethan Chavenage House, the Georgian Firle Place and the stunning Tudor Wilton House.
The Movie: ⭐⭐⭐⭐Stylish Jane Austen adaptation
14. The Grand Budapest Hotel
The Architecture: It took cardboard, CGI and a 9-foot-tall model to create the kitsch hotel of Wes Anderson. Mixing Art Nouveau with Eastern Bloc Modernism, the cake-like pink building is a tribute to European grandeur.
The Movie: ⭐⭐⭐⭐ Delicious pastry, I mean comedy
15. The Handmaiden
The Architecture: I guess few viewers would concentrate on architecture, but it is worth noting that this movie has some sumptuous sets. The CGI-ed Rokkaen, the main house, is a stunning fusion of Japanese (Meiji period) and Western (Victorian) styles of architecture. Park Chan Wook used it to reflect the Korean identity crisis (and personal crisis of the characters).
The Movie: ⭐⭐⭐⭐ An hypnotizing erotic thriller
16. Phantom Thread
The Architecture: This movie has an incredible visual beauty, and the locations are part of it. The Georgian refinement of the Fitzroy Square house has been completed with some Arts and Crafts influences.
The Movie: ⭐⭐⭐ Fifty Shades of Dressmaking
17. Sunset Boulevard
The Architecture: There is nothing less iconic than Norma Desmond’s estate in this 1950 classic of film noir. The impressive Mediterranean/Renaissance Revival style of the Phantom House helps adding mystery and darkness to the plot, especially with the bizarre decoration of this interior, which completes its likeness with both a shrine and a mausoleum.
The Movie: ⭐⭐⭐⭐ All the glamour and danger of Hollywood in one film
Architecture and Horror
It’s Halloween soon, so why not including some recommendations for spooky architectural season? After all, the haunted house formula entirely relies on how well its architectural style is able to scare the living daylights out of the viewer!
18. The Room
The Architecture: This 2019 Belgian movie has nothing to do with the unfamous disaster of Tommy Wiseau. Instead, it is a very interesting twist on the classic haunted house formula. The eerie atmosphere of the Italianate/Colonial Revival style mansion plays a great part in the interesting story.
The Movie: ⭐⭐⭐ An underrated and entertaining fantastic movie
19. Rosemary’s Baby
The Architecture: The Gothic facade of the Dakota apartment building is a great appetizer for the movie’s subtile horror. The interiors were filmed in another famous location in Manhattan, The Osborne, which has a more discreet Italian Renaissance/Gilded Age style.
The Movie: ⭐⭐⭐⭐ Chilling Book-to-Film Adaptation
20. The Shining
The Architecture: Yes, I have already put The Shining in another of my articles on cinema. But who is going to blame me? This Kubrick’s masterpiece is THE classic reference when it comes to architecture as the main character of a movie. The hypnotizing aerial shots of the Timberline Lodge and its Rustic Cascadian/Neovernacular style will forever haunt you. The even more eerie interiors of the fictional Overlook hotel were inspired by the Ahwahnee Hotel in Yosemite, with its intriguing « Parkitecture », a special style of architecture developed in the early and middle 20th century in the United States National Park Service to create buildings that harmonized with the natural environment. The Ahwahnee’s offbeat interior design actually mixes Art Deco, Native American, Middle Eastern, and Arts and Crafts styles.
The Movie: ⭐⭐⭐⭐⭐ The house that Jack played in
21&22. Suspiria / Suspiria (2018)
The Architecture: Two movies that couldn’t be more different, yet based on the same story. What if it had everything to do with architecture? For Dario Argento, the importance of the building is visceral. The red walls of the dance academy are organic, Gothic from the exterior (The Whale House) and an hypnotic mix of Art Deco and Art Nouveau inside. You get lost in his maze, and the reference to M.C. Escher is not insignificant. Luca Guadagnino (who has experience in architecture), on the other hand, chose a darker, colder art direction. Indeed, his dance academy is a bloodcurling Bauhaus-style building, using a customized Grand Hotel Campo dei Fiori. The sets are strongly modernists, with influences from Adolf Loos, Margarete Schütte-Lihotzky and Josef Hoffmann. The result is claustrophobic and many purists were infuriated, but architecture lovers could help to redeem this reimagination of the 70s classic.
The Movies: ⭐⭐⭐⭐ Artistic horror (but beware of the cultists)
23. Winchester
The Architecture: The Winchester Mystery House is real. This Californian mansion is supposedly haunted, but its most interesting aspect is its crazy architecture. And when I say crazy, I mean crazy. Indeed, this late Victorian labyrinth was not erected according to the wise directions of an architect, but instead haphazardly connects 7 floors, random doors, stairs and windows, some of them not even serving their original purpose and leading to nowhere.
The Movie: ⭐⭐⭐ Your average horror flick
Movies and Modern Architects
Contemporary architecture and directors are involved in a great love story. So obviously, their favorite buildings and aesthetics tend to have the main role in their movies. And this for the greater pleasure of architecture enthusiasts. But don’t downplay the meaning of architecture inn fiction to a mere fancy background.
24. A Single Man
The Architecture: I must confess I have a weakness for Midcentury, so obviously, I cannot help but admire the use of the J.W. Schaffer House by John Lautner and its Organic style. It is perfect for this refined take on loneliness.
The Movie: ⭐⭐⭐⭐ A moving drama
25. Columbus
The Architecture: The first film of Korean filmmaker Kogonada is hitting architecture lovers right in the feels. This slow-paced visit of the Midwestern Mecca of architecture is an ode to modernism and the buildings are treated like actors. Just enjoy.
The Movie: ⭐⭐⭐⭐ Humanity and architecture
26-27. De Palma’s Body Double / Passion
The Architecture: De Palma’s weakness for architecture would need an article on its own, so I’m just offering a dual choice here. Another Modernist marvel by John Lautner, the Chemosphere House is playing a major role in Body Double, its retro-futuristic look almost distracting us from the story. Passion has a wider architectural case, with visions of Frank Gehry’s DZ Bank building, the cyberpunk Sony Center and other stylish locations.
The Movies: ⭐⭐⭐⭐ Sexy thrillers
28. The Fountainhead
The Architecture: Ayn Rand modelled her fictional architect Howard Roark on Frank Lloyd Wright, who was supposed to provide architectural designs. But they are the creations of art director, Edward Carrere instead. This film is about ego and that’s a dangerous thing to have when you’re an architect. In a world where more than 6% of CO² emissions are related to construction industry and unethical projects, we need to watch the main protagonist with a critical eye. Because yes, Modernism can hurt.
The Movie: ⭐⭐⭐ The guide to be a terrible architect
29. Gattaca
The Architecture: The minimalism and perfectionism of this movie’s aesthetic include some beautiful Modernist locations such as the Marin County Civic Center designed by Frank Lloyd Wright, the Brutalism of the California State Polytechnic as well as the atmospheric Sepulveda Dam.
The Movie: ⭐⭐⭐⭐ Thoughful science-fiction
30. High-Rise
The Architecture: JG Ballard, the author of the novel adaptated in this movie, was fascinated by projects such as the Cité Radieuse (or Unité d’Habitation) of Le Corbusier, where tenants would have everything they needed without going out of their apartment buildings. Of course, Ballard’s tale is a grim, disturbing one, very far from the radiant idea of Corbu. In this adaptation, director Ben Wheatley is highlighting the ominous power of Brutalism. He and production designer Mark Tildesley conceived the high-rise as a fusion of The Barbican and John Madin’s Central Library. The shape of the building gives away the fall into madness that the tenants are about to experience.
The Movie: ⭐⭐⭐⭐⭐ This movie will crawl under your skin
BONUS: The House That Jack Built
The Architecture: Incomplete at best, gory at worst. The architecture of Lars Von Trier is more a symbol than a structural lesson (so please, don’t follow the path of the protagonist). The movie questions the existential purpose of creating buildings and houses, our obsession with leaving meaningful traces of ourselves in the future. But don’t expect great lessons of life, the movie is a very dark comedy. Yet, its tribute to arts will stick with you for a while.
Paper is the basis of art. We sketch on it, we paint and write on paper. Yet, we almost forget that the medium is part of the artwork, that without it, there is no art. This is impossible to forget when it comes to paper art. If I decided to focus on cut paper, it is not at all to erase the importance of ancient cultures and arts such as origami, but instead, to show that their influence is still visible in the work of global contemporary artists. Some cut paper artists are directly inspired by Japanese paper art. Kirigami is one of the rising techniques of paper art derived from origami. Paper is folded too, but also cut. Another technique is Kirie, the art of cutting paper.
The creativity and use of cut paper art are unlimited, and as you will see artists are truly exploring its many possibilities. Their artworks are usually poetic and refined, but you can also see some architectural and abstract artworks, along with some darker content. From 3D installations to wearable art, from organic to geometric and from subtle to bold, the art of cut paper has just started to amaze us and to push the limits of contemporary art. If you are curious or looking for inspiration, you should really take a look to these 20 cut paper artists on Instagram…
Asya and Dmitriy Kozin
Forget the heavy wigs of Marie-Antoinette. This creative couple creates haute couture with paper. Their headpieces are especially impressive.
If you think that the origami crane design is too classic, look twice. This artist is exploring the many aesthetics of this graceful icon and each of his pieces is ravishing.
As a kid, I was obsessed with Vasarely and I’ve kept a weakness for geometric art. So, obviously, I’m fascinated by the colored and layered work of American artist Huntz Liu.
If you want to experience all the fun possibilities of Kirigami, then this artist is your man. His creations celebrate both architecture and pop culture, from Le Corbusier to Stars Wars!
When he is not doing incredible origami, this Indian artist experiments with Kirigami, creating colorful and intriguing artworks inspired by both architecture and geometry.
Fans of botany will find happiness in the intricate and refined cut paper artworks of Rogan Brown. His organic pieces are exquisite and full of amazing patterns.
The imagination of this Australian artist knows no boundary. His sculptures and installations are always flirting with surrealism, couture and even theater sets.
The graphic artworks of this American artist, architect and designer are incredibly eye-catching! You will be hypnotized by his use of color, shapes and textures.
When you were young, you enjoyed building magic cities and weird stuff with your Legos. But when you grew up, you were told to put your bricks away and to start enjoying art of adults. Maybe this was all wrong. More and more contemporary artists are using materials from our everyday life to create unique artworks. The Lego brick is not only an easy object to use, but also a reference of pop culture.
So, it was just a question of time to see it used as the main material in creative contemporary artworks. Of course, it is indicated to create models of Architecture; they can be based on real buildings or help designers to create the structures of their dream. But some artists think outside of the (Lego) box and stretch the limits of construction and art.
Do you believe Lego art is part of contemporary art? Or do you even plan to become a Lego artist yourself? If the answer is yes to both questions, then these are 10 useful and inspiring accounts that you should follow on Instagram.
1. Arndt Schlaudraff
Arndt Schlaudraff aka Lego Tonic really takes advantage of the now rare and coveted Lego Architecture Studio. He is not only building amazing structures, either inspired by jewels of global architecture or by unbuilt projects by amazing designers, he is also exalting them with light and beautiful photographs.
I discovered the work of Ekow Nimako when I was working for Beautiful Bizarre Magazine and I immediately felt that his work was really unique and personal. He is transcending the little internationally famous bricks into a tribute to his heritage and to write his own story. His work is bold, poetic and inspiring.
When kinetic sculpture meets Lego, here’s live the work of Jason Alleman. This artist is putting the bricks in motion, reminding of our childhood’s dream to see our toys come to life. His creations definitely have an hypnotic power, and they seem like a lot of fun!
If you love classic Italian architecture, then you will drool in admiration for the models of Luca Petraglia. His work recreates the timeless beauty of the ornated facades of ancient Europe and also gives you an insight of their impressive structures. A must-see for architecture enthusiasts.
The work of Nathan Sawaya explores the emotions and psyche of mankind with surrealism. As you can see, his sculptures can be quite impressive in size, but also by their conception. They are a witty take on classic art, on contemporary art as well as on pop culture. They really put Lego in museums.
This Belgian company offers to unleash your inner child by creating your dream Lego project. If you want to play with architecture and art but you are not brave enough yet to create your own building, they are providing you with great designs and plans. Now, all you need is to start!
Between abstract art and architecture, the sculptures of Raymond Girard aka LEGOmetropolitan are a celebration of futuristic metropolis. His art installations are colorful, surrealistic and intricate. You will be impressed by their scale and their imagination.
If you have ever dreamt to explore wonders of architecture such as the Forbidden City, Rome or Mount Rushmore but you are socially distancing at home, you still can travel and explore them thanks to the impressive miniatures of Rocco Buttliere. You can definitely admire his patience and sense of detail!
If you prefer figurative art to architecture and especially if you love nature, then the work of Sean Kenney is for you! His gigantic (and lifelike) sculptures of animals, plants and fun characters are endearing. It looks like his creativity knows no boundary, and we’re not going to complain.
Some of the aforementioned creators are providing aspiring Lego artists with books and tips to build their own projects, but I wanted to highlight the page of Tom Alphin for architecture lovers. I think it is a good start, and it is available in many languages. So if you want to be a Lego artist too, you know who to follow!
Don’t mistake miniatures and dioramas for adult’s toys. These days, model making is recognized as a form of art, and many artists are incorporating it into their practice, to push the envelope of contemporary sculpture and art installation.
The link between miniature art and visual arts is not new. For decades, cinema has been using models to trick its audience, before the rise of CGI technology. Think early Star Wars movies or Andrei Tartovsky’s using model houses in the set of The Sacrifice in 1986. More recently, horror auteur Ari Aster used scale-down models in his movie Hereditary, in which the heroine (played by Toni Colette) is a miniature artist. The models are much more than props, as they serve the same foreshadowing purpose as the tapestries and paintings in Midsommar.
So, you got it, dioramas are a unique way to tell a story. As you will see in this selection, the story can be poetic or horrific. Miniatures can also serve as a celebration of past architecture or imagine the future of the world. But the fascination of these artworks lies in the downsizing of its elements, in the impressive skills displayed in the intricate details. If you like taking a closer look to art, then you will love the work gathered in this selection. Enjoy this list of some of my favorite diorama artists, gathered in alphabetical orders, that you can follow on Instagram!
1. Abigail Goldman
Of course, we cannot talk about miniature art without highlighting the die-o-ramas of Abigail Goldman. They are the focus of their own documentary, in which this investigator explains how her pieces are a sort of catharsis for all the human dramas she witnessed. Her dioramas are not for the faint-hearted, but if you’re into dark humor, you’ll love them.
If you’re a fan of Sleepy Hollow and the atmosphere of Victorian horror stories, then you will find your happiness in Andy Acres’ boxes. This artist is indeed framing spooky and mysterious sceneries full of mist, jack-o-lanterns and haunted houses. You can get your very own view on Etsy to remind you of Dracula or Jack the Ripper.
A post shared by Andy Acres (@chimerical_reveries) on
3. Chris Toledo
Chris Toledo’s miniatures are the supreme form of doll houses. If you have ever dreamt to live in early 20th century mansions but can only afford a studio, then, his creations will feel like a second chance. Forget the TV shows and magazines about the homes of the stars, you need to admire the beautiful details of Toledo’s scale-down houses.
A post shared by Chris Toledo (@ibuildsmallthings) on
4. Class Miniature
Class Miniature’s bio indicate that they are a beginner. Man, I wish I could be THAT kind of beginner… because their work is certainly stunning. This artist is inspired by movies and comics, using handmade art dolls and models to create a rad dystopian world.
There’s poetry in everyday life and Derrick Lin knows how to capture it with his tiny figures. This artist recreates urban scenes between a mug of coffee and a paper clip. There is humor, melancholy but also an acute sense of social observation in his miniature art.
Ehsan Beyzavi also known as EB ART is able to see beauty in decay. Raised in the Middle East, he witnessed disasters and traumas and decided to become an artist to testify of man’s madness. His dystopian dioramas discuss dark themes such as war and the dangers of religion, but they also celebrate hope and dreams.
Montreal-based artist Guillaume Lachapelle plays with mirrors and light to give the illusion of infinity to his sculptures. Using 3D printers, he invents tiny structures that he captures in glass boxes. His creations are celebrating the absurd beauty of urban architecture and give them a science-fiction atmosphere.
If you enjoy illustration art, then you will adore three-dimensional illustration art! Irma Gruenholz creates small sceneries with clay that are colorful, poetic and heartwarming. Her little tales will please your inner child, but also reconnect you with nature.
I really love Ingvild Eiring’s work. This diorama artist from Norway has created a gothic world full of adorable little mice. But beware, these cute creatures can be possessed by demons or summoning spirits. Indeed, Eiring is really inspired by horror movies, especially The Exorcist. Each piece is spooky and endearing at the same time, and the details are fabulous.
When I started doing miniatures on my own (no, you won’t see my creations…yet), I wasn’t aware there was true artists out there. I discovered the work of Joshua Smith thanks to his collaboration with street artist Bezt (Etam Cru) and I was stunned. His work is so impressive; zooming on his pieces will show you his dedication and amazing sense of detail. I’d love to see his small buildings in person.
A post shared by Joshua Smith (@joshua_smith_street_artist) on
11. Josua Lai
Anime, fantasy and nature are the sources of inspiration of Josua Lai. If you dream to have a piece of imagination in the palm of your hand, then you need to check his work. Blink and could end up in another planet, following a magic creature in their whimsical adventures.
A post shared by Josua Lai (@josualai.miniatures) on
12. Kendal Murray
Australian artist Kendal Murray is combining diorama art with oddities. She is using ancient and refined objects such as powder compacts, teapots and purses to install her old-fashioned scenes. The result is romantic and nostalgic, but also deliciously surrealistic.
This experienced duo is creating intricate architectural miniatures and takes fine art photographs of the result. Their fantasy landscapes are so lifelike you would want to get lost inside of them… a dream inside a dream. It is not surprising to learn that they also create sets for animation.
Photo of a diorama by Lori Nix and Kathleen Gerber
14. Monstresss
If you had already read my list on architectural artists then you should already be following Susete Saraiva aka Monstresss. Obviously, this diorama artist inspired by horror movie has to be in this list too, because when you’re good, you’re good!
Mediterranean urban landscapes are full of charms. Their ancient architecture is fascinating and their old stones seem to have captured summer forever. The miniature art of Mordi recreates this atmosphere and architecture lovers will admire his attention to details.
Miniature art makes you travel around the world, and also in time! This creative duo is constituted of two art historians with a weakness for palaces. They are using their knowledge, experience and perfectionism to create astounding scale-down pieces of some of the most gorgeous landmarks of Europe and Northern America.
Let’s continue our time travelling with the lovely dioramas of Oganaki. His creations seem to come from an antique dealer’s shop, but they are certainly not dusty! Oganaki’s piece are certainly creative and unique, sometimes using offbeat materials, like an actual violin.
After the past, we need to visit the future. And obviously, Simon Laveuve’s vision of it is dystopian. This French artist is a former photographer with a special talent for upcycling. His dioramas are theatrical, between urbex and science-fiction, but more poetic than scary.
Poetry, humor ad food. These are the winning ingredients of Tanaka Tatsuya’s miniature art. He is turning objects of everyday life into quirky sceneries for his Lilliputian figures. There are hours of conception and preparation behind the photographs of Tatsuya’s fun little world.
The poetic calamities of American sculptor Thomas Doyle are very impressive. His scale models indeed capture the aftermath of some weird accidents of nature, wrecking houses or turning peaceful nature into chaos. It shows human fragility, but also its talent to turn its turmoil into art.
Jen Ripper Gori 