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Mythological epic in the surreal world of artist Heidi Taillefer

 


There is something old-world in the work of Montreal artist Heidi Taillefer, an evocative and romantic air, her paintings featuring figures from ancient mythology, religion and history. They navigate between the classical and the figurative and her archetypal subjects. 


His preoccupation with technology and the way it is changing the perspective on human existence and the way we relate to each other. His subjects are chimerical manifestations that combine human and animal body parts.


To which she adds, light bulbs and antique objects, making them float with anticipatory tension in their environment. In the case of Heidi Taillefer, she fuses classical figurative painting with the most dreamlike surrealism, to which she adds elements of mythology and popular figurative traditions ranging from Victorian romanticism to science fiction. 


His work is in line with some of the surrealists of the twentieth century, such as Max Ernst and DeChirico. With this background he traces the profile of the human condition through different eras and cultures, building his own lens and language.


READ IT IN SPANISH: Épica mitológica en el mundo surrealista de la artista Heidi Taillefer 


This approach reflects the omnipresence of technological advances in the world and how their influence is increasingly present in more creative fields. Born in the Canadian city of Montreal, Heidi Taillefer began drawing at the age of three, raised in a wealthy family. 


She was fortunate to be brought up in a creative environment, where she was drawn to the strange and unusual. Fascinated by strange animal specimens. From the age of ten she took private art lessons, where she developed skills in watercolor painting. 


After earning a degree in humanistic studies from McGill University in the 1990s, Taillefer began making numerous trips to developing countries. Paying special attention to the most universal themes of the human condition, in the context of an increasingly volatile and globalized society.



Federico Gomez, tree and root as an expression of our origins


The organic sculptures of the artist Federico Gomez link the raw material used in their elaboration to the formation of an identity, whether it is forest residue or fallen trunks. He adopts them as his children and through the form of a tree he narrates in first person what he perceives.


Weaving an experience that he shares visually with other living beings, a gesture that seals his commitment to his natural environment. Dictated in an ecological key, the message travels through the transformation of the landscape where each piece is located. 


Inspired by nature and each and every one of the elements that inhabit it, giving it its logic, he perceives each sculpture he makes as a totem. Through which to contemplate the world with a certain calmness and taking the necessary distance.

A CONTEMPLATIVE JOURNEY FROM THE GENESIS OF NATURE.

Reminiscent, except for specific nuances, of cave art, at least in terms of rhythm and expression. That draws on ancestral ethnic art to connect us with our past and show us what our future may be like. 


The elaboration of each piece, therefore, involves applying high doses of temperance. Because it has a lot of craftsmanship technique involving a laborious process, where the characteristics of the environment are a major influence on the final result.


READ IT IN SPANISH: Federico Gomez, arbol y raíz como expresión de nuestros origenes


Born in Madrid, he lives in the town of Bustarviejo, where Federico has the appropriate environment surrounded by forests and in the middle of the mountains of Madrid where he works in the calm. Carving specimens of trees whose final result, whether individual works or sculptural ensembles describe a journey back and forth.


Where the roots and identity are a journey where the natural environment is always present. Manifesting itself in each hollow, in each and every one of the silhouettes and the fragility they represent before our eyes.

Science popularizer Carl Zimmer uses tattooed scientific elements to promote love of science



Perhaps the scientific formula formulated by Albert Einstein, his famous theory of relativity, which revolutionized physics in the first third of the twentieth century. It is the tattoo with which most people identify themselves. 


But apart in the selection of scientific tattoos made by Carl Zimmer who is a writer and divulgator scientist, who has been receiving in his blog The Loom and has collected in a volume entitled Science Ink.


The first edition was sold out in bookstores during the first week of sale to the public. You can find references to any scientific discipline, tattoos that sequence DNA strands, such as the one using the four nucleotides that constitute the amino acids that translate proteins. 


They reveal the initials of your partner becoming a gesture of love towards her. An act of love directed to your partner, as well as to the paractic and especially to the scientific divulgation. 

A facet that has been parallel to his career as a member of one of the most reputable institutions in scientific terms in his country. Work in which he has applied himself providing numerous satisfactions, and enough knowledge that in his spare time he has incorporated to his other great passion, the artistic tattoo.


But you can also delight yourself with tattoos that are inspired by astronomical terms or that describe chemical formulas, or that give a glimpse of the different organs that remain lodged at the subcutaneous level. 


READ IT IN SPANISH: El divulgador científico Carl Zimmer utiliza elementos cientificos tatuados para fomentar el amor por la ciencia 


Works that show us the evidence that dozens of intelligent and intellectually perceptive young people recognize that the equations, symbols and elements that make up the periodic table. They can be transformed into the motifs that build an aesthetic narrative that will always accompany you.


A visual and elegant language through which the universe reveals its deeply buried and marvelous secrets. Showing us along the way traits of our personality, experiences that can guide us towards that destiny we long for. 



EQUIP XCL/The Sphere, two spheres for a skyscraper

 


A structure housed inside a similar structure, like a set of Russian dolls, is more or less the concept used by architect Xavier Claramunt, founder of the Barcelona-based design and architecture studio EQUIP XCL. 


To design the plans for The Sphere, he chose to approach it from an inclusive perspective. In this way the two spheres nested one in the other would concentrate both residential uses, as well as those related to services and commercial.  


With a total surface area of 1,600,900 square meters, The Sphere skyscraper project. It is distinguished in several aspects, apart from the design, which is very attractive, such as in the planning of the different elements that contribute to its habitability.


These are designed to give its future residents and the professionals who install and exercise their activity in it, autonomy, comfort and dynamism. The inner sphere or core would be destined to the economic activity, locating the commercial and leisure area, in addition to community services and administration of the two spheres and cultural facilities. 


Glazed with bioclimatic glass, the panels would be distributed in such a way that they would coincide on its axis with the huge holes drilled on the outside, allowing the entry of natural light. With which to illuminate their facilities.


In the outer sphere or permeable membrane would concentrate the residential fabric, offering different types of housing, due to its unique location. They have views both to the exterior and to the interior facilities, giving them a high degree of interrelation with their immediate surroundings. 


READ IT IN SPANISH: EQUIP XCL/The Sphere, dos esferas para un rascacielos  


Apart from the large circular openings, The Sphere has pedestrian accesses and discretional services in its lower part. In the neutral or common area, a surface located between the two spheres, landscaping has been planned, with species that favor oxygenation and air circulation inside. 


The viewpoints oriented to the outside, become extensions of the public space, becoming improvised viewpoints where to interact contemplating the rest of the city.



Mike Giant pioneer of urban tattooing in New York City

 


Roughly speaking, the urban artist and tattoo artist Mike Giant, born in upstate New York at an undetermined date but living in San Francisco (USA), can be considered a creative entity that gathers all the characteristics of what is known as a genuine New Yorker.


In fact, although as I have already mentioned at the beginning of this post, he moved to the west coast of the United States. After a brief but intense experience, he decides to pack his meager belongings and return to the city of skyscrapers.


Where he observes and witnesses how the new forms of urban expression take over the public space. Bringing with him other aesthetic airs that revolutionize the narratives in an urban context unknown until then. 


Proposals that for him meant a change of artistic direction, becoming the prototype of the unconventional urban artist. A nuance that can be perceived as soon as you observe his works and pay attention to their details.


Although it should be noted that apart from his purely urban activity, his career covers all disciplines that one can imagine, graffiti, photography, skateboarding, biking, alternative clothing designer, illustration. But perhaps his best known facet and for which he has become a reference for a whole generation is for his work as a tattoo artist.


READ IT IN SPANISH: Mike Giant pionero del tatuaje urbano en New York


Mike Giant's life and artistic experience runs parallel to the cultural and social chronicle of the West in the last three decades, this transformation can be seen throughout his career. How all these influences have been shaping his particular universe. 


Contributing to the development of a personality represented by multiple nuances that are reflected in his work, regardless of the approach and the creative area where he works.


Now in his forties he has embarked on perhaps his most ambitious project, the launch of the clothing and accessories brand Rebel 8, which has meant for his career a territory in which to pour all his creativity and experience.


Heather Jansch - Driftwood horses, the root of the wild horse


The horse is perhaps the animal that has most often served as a model for a multitude of artistic manifestations. Since its slender figure was reproduced in cave paintings, made by our prehistoric ancestors.


Using rudimentary dyes made with the essences extracted from roots and plants, they painted on the surfaces of the interior of the caves. Dozens of examples have been found so far where this noble animal is represented.   


Due to their great plasticity, these equines have become the inspiration for hundreds of artists. The landscape sculptor and Land Art artist Heather Jansch, picks up these same roots of our ancestors to use the form acquired in their maturation to weave sculptures of mainly adult horses.

WILD HORSES ON AN ARTISTIC JOURNEY FROM PREHISTORIC TIMES TO THE PRESENT DAY.


Heather uses roots from the woods around the Westcountry in the UK. A region where forests and steppes abound, meeting the ideal characteristics so that since the first equine populations arrived thousands of years ago, they have been used for a multitude of tasks.


In the case of the horses that serve as Heather's models, they are a selection from her own stable of horses. Horses that the artist has been passionate about since her childhood, when she also acquired a taste for art, thanks in large part to her other great passion.


READ IT IN SPANISH: Heather Jansch - Driftwood horses, la raíz del caballo salvaje



That is none other than Leonardo Da Vinci, not only one of the most important representatives of his time, the Renaissance. But in addition to his artistic facet, he was prolific in others such as alchemy, as well as contributing with his inventiveness thanks to which he patented numerous formulas and prototypes.

  

Whose sketches represented a great influence in his working method. Inspiration that, if you pay a little attention, among other things in the notion of movement and volume that Heather applies in each and every one of the projects she undertakes. 


Practically self-taught, Heather left the art academy on the advice of her tutor. Moving to a rural environment where she reconnected with herself through art, applying the little knowledge she had about art.


In the elaboration of the series Driftwood horses, of which you can find further documentation in her book titled Heather Jansch's Diary. Where, in addition to a large amount of graphic material, the author accompanies you with reviews and a portrait of each and every one of the sculptures collected in its more than one hundred pages.


Her equestrian figures, which have been the subject of numerous exhibitions, are predominantly exhibited in natural settings, and are highly sought after not only by collectors of equestrian art. But by a diversity of private and public collectors. 


J. Mayer H. Architects/Metropol Parasol, how to gain public space without altering the environment.

 

In this urban planning project, the maxim that the weight of history was imposed could be applied. Due to the archaeological remains found on the land destined to become a car depot, the square in the center of Seville (Spain). 


It has become a space where the visitor, apart from wondering at the relics found in the course of the excavations, can admire a unique architectural work in the world. And whose wooden structure, although at first it may seem to be out of tune with the environment, can be interpreted as a coherent element with the rest of the rich heritage found in the area.  


Located in the center of the city, the undulating megastructure that represents the cells of a poultry panel, is the largest surface built in height in the world. Seven years after the local authorities launched the competition, which was won by J. Mayer H. Architects. 


the huge Metrosol Parasol mushroom after its inauguration, joining the map of outstanding buildings in the city as an icon and a tourist landmark. It boosts economic development and stimulates social and cultural activity in the public space.


This huge honeycomb apart from fulfilling a bioclimatic function, has meant the redevelopment of an area with a high heritage value of special significance. So much for the resident citizens as for the hundreds of thousands of visitors that every season cross a network of streets.


Where the cultural links of a town as unique as the capital of the river Gualdaquivir, are present through the different architectural styles that can be seen in its ancient buildings. The majority of religious character being present in almost every corner of the historic center.


GAINING HEIGHT WITHOUT LOSING IDENTITY


In the outline of Metropol Parasol, where its large wooden structures stand out. It houses the archaeological museum, a market of organic products, an elevated square and multiple stores dedicated mainly to the hospitality industry. As well as a panoramic terrace on top of the parasols. 


Built with an innovative method, the porous cover is made of wood, with a layer of polyurethane treated to withstand adverse weather conditions. The parasols thus make the archaeological excavation a point of reference. 


The columns become important points of access to the museum giving continuity to its sinuous layout. As well as on the roof of the square and the panoramic terrace, defining a unique relationship between the historical and the contemporary. 


THE COLOSSAL MUSHROOM HAS DOUBLED THE PUBLIC SPACE IN THE AREA.


Conceived as a social structure, the canopy provides shade during the day, creating a comfortable microclimate and a place for relaxation. At night, the sunshade becomes an artificial sky that creates the ideal setting in which to program a variety of artistic, musical and recreational activities.


These two qualities allow for a range of urban activities, such as sports (beach volleyball, boxing, street basketball, etc.), cultural events (cinema, theater, concerts, etc.). As well as commercial uses (fashion shows, corporate events, presentations, etc.) that emphasize the cultural and economic role of the Plaza de la Encarnación. 


READ IT IN SPANISH: J. Mayer H. Arquitectos/Metropol Parasol, como ganar espacio público sin alterar el entorno  


As one of the city's main places for communication and interaction. The elevated plaza responds to the need for a large multifunctional urban meeting space in the old town of Seville. It is connected to the street level through large staircases that function as activators of everyday life. 


While large enough to mark the plaza as a public space, the stairs make it easy to reconfigure in the case of restricted access. While most of these activities take place in the afternoon or evening.


In the daytime, the plaza becomes an attractive destination for retreat from urban life and a place for play, conversation or contemplation. The architectural proposal doubles the original footprint and creates an additional 4,500 square meters of high quality programmable spaces.


SS Ayrfield, the ship-turned-forest abandoned in Sidney Harbour

 

Sidney in Australia is bounded by a series of bays located at different points of the mouth of the Parramatta River, from which the city has developed urbanistically. The last one was known as Homebush Bay. 


A large-scale urban development located west of Sidney and whose area was the subject of a plan that coincided with the celebration of the Olympic Games. And that served to recover the section of the waterway that presented high levels of contamination, due to uncontrolled spills resulting from industrial activity and deposits of rust generated by the corrosion of dozens of ships deposited on its banks resulted in the prohibition of all fishing activity.


Although practically all the ships were removed, there are still some relics of the past, which testify that for almost half a century this area was the destination where numerous boats and ships from the most diverse activities, commercial, fishing, military... were abandoned.

THE SS AYRFIELD IS ONE OF THE FAVORITE CHALLENGES FOR URBEX LOVERS.

 

The best known is undoubtedly the SS Ayrfield, one of the many ships retired from service and whose peculiarity consists in the fact that due to the passage of time, apart from the deterioration of its oxidized hull, its deck has been replaced by a new one. Its deck has been replaced by a floating forest dominated by a variety of arboreal species.


Parasitacion of vegetation that has become the ideal place for nesting, a variety of birds although it should be noted that the most abundant are the gulls and cormorants. Especially in the breeding season they come to the area because they consider it a safe place, as it is protected from their natural predators.


Anchored a few meters from the shore, the spectral silhouette of such a unique boat has received the name of The Floating Forest. It modifies the landscape of the area by redrawing its profile, having become an ecosystem populated by numerous species, composed of insects and small amphibians as well as different plant species, confusing its presence with that of a nearby islet. 


READ IT IN SPANISH:  SS Ayrfield, el barco convertido en bosque abandonado en la bahía de Sidney  


Built and launched in 1911 in the United Kingdom, from where she departed on a long voyage to Sidney. The SS Ayrfield began its trajectory as a steamship destined to cover different routes transporting travelers and provisions, between the towns that decades later would be added as districts of an emerging metropolis.


It served as a gateway for hundreds of thousands of settlers, who arrived on its unpopulated shores, with the expectation and hope of offering a future that they could leave as an inheritance to successive generations of citizens. Whose presence and work have been decisive for this vast expanse of territory known as Australia, has become what we know today, one of the most advanced and developed countries in the world.


As early as the 1940s, the military authorities considered her spacious holds to be ideal for transporting supplies to meet the supply needs of the army infantry units serving in the Pacific region during the Second World War. 


After the war, the ship went on to serve as a coal carrier between Newcastle and Miller's terminal in Blackwattle Bay. Finally, in 1972, she was decommissioned and sent to the Homebush Bay maritime graveyard, where she was partially scrapped. 


Since then she has lain on a slightly overturned sandbank attracting the attention of more and more curious onlookers attracted by the display of lush vegetation that has turned her into a postcard, having been photographed thousands of times. 



Matej Andraz Vogrinčič, tranformation and landscape from a recycled point of view.



The interventions and installations of Slovenian artist Matej Andraz Vogrinčič, are characterized by three aspects that can be observed throughout his long career.


The first has to relate to his treatment of space and its relationship with architecture. Because of this approach he almost always selects monumental buildings, many of them in a state of ruin, as scenarios. Whose structure turns them into hosts where objects are hosted, modifying their original identity and uses. 


The second is related to the first, and cannot be dissociated from it, and has to do with the massive effect of his proposals and the uniform disposition he uses to place the objects in space. Almost in all cases applying a homogeneous pattern that creates the impression of community and strength through unity. 


Whose purpose is to establish a dialogue with it and how we contemplate it according to the criteria and the position we adopt as observers in a flexible environment in constant change. As is undoubtedly all the elements that make up a natural landscape. 


CREATING NATURAL PATTERNS FROM OBJECTS

And the third has to do with its nomadic condition and its ability to adapt its aesthetic vision to any type of environment while preserving its essence from the viewer's point of view. Whether in the middle of an Australian desert, among the remains of an abandoned church in England, or in climates as extreme as those experienced in the Siberian tundra.


READ IT IN SPANISH: Matej Andraz Vogrinčič, tranformación y paisaje desde una óptica reciclada  


Matej methodically and without altering anything but the accessories of his execution process, completes each installation with reference to elements that he considers to be part of the local culture, acting accordingly on the territory, without altering it and causing the least environmental impact.


For the basic materials he uses are waste materials that after selecting them based on different basic criteria such as shape, color or texture, he catalogs and stores them for possible projects. Whose theme can be included within the current of abstraction.  


Matej's works reflect on the possibilities of the landscape and its aesthetic performance, in a context where the presence of human beings subdues it, stripping it of its natural texture.


It is no coincidence that his personal reference in the history of art is Ben Vautier, an Italian-French avant-garde artist whose profile and polemic statements in favor of multi-culturalism and artistic practice beyond the established canons of beauty and academic orthodoxy. They have influenced her artistic practice where aesthetically she seems to be dominated by an ordered chaos. 


Altaeros Energies presents Airborne Wind Turbine, the new wind energy revolution


After a long development process, Altaeros Energies engineers have unveiled the first productive prototype high-altitude wind energy Airborne Wind Turbine. An effort to harness strong winds at high altitude, Altaeros has developed a floating wind turbine that is a cross between a traditional windmill and a dirigible. 


After some successful testing, the Altaeros team is hopeful that this new levitation wind turbine can be a viable clean energy option for remote villages, hard-to-reach areas and military zones. Altaeros Energy is one of the few companies specializing in the development of systems to capture the strongest and most stable winds at high altitudes.


CLEAN AND INEXPENSIVE ENERGY CAPTURED AT HIGH ALTITUDE

The technology is designed to capture wind at altitudes of more than 1,000 meters. The design of the Altaeros Airborne wind turbine is quite simple. An inflatable, filled with helium raises it off the ground at high altitudes, where winds are stronger than at ground level. The air turbines are kept balanced by anchors on the ground, which send the electricity generated by the turbine to a battery that feeds it into the grid.


For decades, wind turbines have required huge cranes and towers to lift a few hundred feet off the ground where wind may be insufficient due to low wind speed. Altaeros was founded in 2010 by MIT and Harvard student Ben Glass. Earlier this year, the team completed testing of a thirty-five foot scale prototype of the Airborne wind turbine at the Limestone, Maine location. There, the floating turbine ascended to reach over three hundred feet in altitude. Successfully completing production and endurance tests.


READ IT IN SPANISH: Altaeros Energies presentan Airborne Wind Turbine, La nueva revolución de la energía eolica   


The elevation technology is an adaptation of aerostats, or their cousins the passenger airships that for decades have lifted communications equipment and other technology into the air for long periods of time. Aerostats are qualified to resist hurricane-force winds and have safety features that ensure a slow descent to the ground.


Airborne was featured on the March 2011 cover of Popular Mechanics. In December of that same year, the Federal Aviation Administration (FAA) released the required draft guidelines for the new class of airborne wind systems as they were placed in current regulations. Winning first prize in the competition organized by ConocoPhillips Energy, the Boston-based company is currently seeking to partner with other companies to build and test a commercial-scale turbine.


Rone and his Empty series, portraits in an abandoned Art Nouveau theatre

 


In many of the interventions of the urban artist Rone, based in the Australian city of Melbourne, a shared constant can be observed, which links uninhabited places and their architecture with their human facet.


Applying soft tones, he transmits through architectural portraits different emotions that the residents of the buildings experienced at the time and that they had to leave in many cases in a hasty manner due to an accident or an eviction or simply because the economic activity that existed in the vicinity of the house ceased. 

Creating an atmosphere where nostalgia and uncertainty dramatize the whole, managing to transmit in a poetic way the experiences that were lived in that place at a certain time not so long ago. Portraits full of nostalgia and eloquence that serve to fill architectural voids in languishing buildings.

For his latest work entitled Empty, made over two years in different locations in Melbourne, he explores the relationship between beauty and decadence. For this, she represents the faces of different women according to a specific context, a theatre, a single-family house, or for example the old facilities of a spa.

In this case the chosen scenario is the venue that housed, Art Nouveau Lyric Theatre, a majestic building dating from 1920, and that if no one remedies will be irremediably demolished. A space that Rone already knew because he had been exploring it on different occasions previously studying the possibilities it offered. 


Read it in Spanish: Rone y su serie Empty, retratos en un teatro Art Nouveau abandonado 


Finally he decided to undertake an epic transformation that would include not only the main stalls with their seating capacity, but also the rest of the rooms. A building in which the first time he was there he experienced a feeling that overwhelmed him, it had such a cold atmosphere, those high ceilings and the corridors in semi-darkness, that he tried to imagine those frequented by the artists and the public that filled it for seasons.

he set of murals is painted over some original artwork that was only revealed by accident when they decided to clean the wall before painting it. Running along both sides of the space are two rows of hanging art pieces that seem to magically float in the air. On the right side twelve painted portraits, on the left eight photos of Rone's works are displayed in a dramatic context. 

A discreet peephole looking into the black warehouse next door revealed another mural rising from the rubble covered floor. The boards had numerous small holes drilled into it allowing light to pierce the black void. The whole spectacle was impeccable, a true testament to the two thousand people who came during its opening weekend when all the works were sold.


The works of the Empty series in photographic format are part of a traveling exhibition whose first exhibition held in October of last year took place in a disused hangar that was presided over by one of the portraits made on a large scale.

 

Banksy against the war in Gaza

 

Barely a year ago in 2013, one million Palestinians living in the confines of the Gaza Strip suffered one of the most brutal military campaigns by the Israeli army in living memory. 


And whose civil and material consequences still persist, and that in figures translate into more than 30.000 families are currently homeless, living forced to live in the street. 


Situation of which no media speaks to us and with which the urban artist Banksy has shown his solidarity. Showing his commitment to those most disadvantaged, vulnerable and helpless groups such as those who are part of the child population.

Moving in-situ to portray this reality through the interventions that has as he completed them filmed in a video of barely two minutes. Where in parallel he describes us through the testimonies of its inhabitants. 


Banksy, without abandoning his anonymity, moves to one of the most conflictive areas of the planet. Denouncing the informative silence and the abandonment by the international community of the Palestinian cause.


The difficult circumstances they are going through and the lack of attention they receive from the mass media, since the Hebrew forces withdrew from their territory. Leaving behind a scene of desolation and hopelessness that will take a lot of time to rebuild.

READ IN THE SPANISH: Banksy - Palestina Graffiti Free

The latest trend is to spend the vacations in a house with recycled windows

 


Vacations are usually the most awaited period of time for most of us who work throughout a hard year of work. Therefore, trips are planned in detail with a multitude of options.

Each one adapted to the tastes and profile of the traveler who longs for a trip to disconnect from his usual routine. Although sometimes there are exceptions that turn those days of relaxation into an adventure and the prelude to a work project that transforms the professional life of its protagonists. 


Nick Olson photographer and his partner Lilah Horwitz, a designer by profession, embarked in the summer of 2012 on an odyssey that would later complement their business plan, becoming their life project, as well as a commitment to their environment. 

Established in New York where they run a pop-up business where they offer their handmade designs to a diverse public, they decided to embark on a journey where applying their knowledge they would build a house with recycled materials where they could live an unforgettable experience.


THROUGH THE WINDOWS YOU LIVE THE FOREST

When after a long journey of hundreds of kilometers in their rickety vehicle they arrived at a forest located in the western mountains in the state of Virginia. A place that, due to its extraordinary landscapes, left these two intrepid travelers ecstatic. They did not hesitate for a second to settle in the middle of nature.

Among many other reasons was that there was nothing better than waking up in the morning and feeling the morning dew, in the warmth of a steaming coffee, so they decided to spend the rest of their vacation in a clearing in the forest. They built a cabin using the windows that they found by chance on their way, to which they later added the necessary furniture to create a cozy place to live in contact with nature and to be able to work avoiding the stress of the big apple.



Although it is not a fixed residence, the house of the windows where they spend long periods of time has been acquiring the necessary conditions that guarantee its habitability. Attracted by their story, the audiovisual creators Matt Glass and Jordan Wayne moved with their recording team from their studio Half Cut Tea, living and filming the piece with the couple, a document where Olson and Lilah tell in testimony the reasons that led to the design of the houses of the windows and how their presence has contributed substantially in their professional facet.




A labyrinth of 7 years of work that has been solved 30 years later



Almost thirty years ago, a Japanese custodian sat down in front of a large sheet of A1 paper, took out a pencil and began to draw the beginnings of a diabolically complex labyrinth, each trace emerging spontaneously from his brain and spilling over the white of the paper.


When he finished it seven years later, the thousands of possibilities it offered to those who embarked on the maze were astonishing, the paths whose traces you could follow were exponentially almost infinite. Obviously, in almost no case did the destination and finalization of the chosen itinerary coincide with the desire of the aspirant whose goal was to find a way out of the Daedalus.


Like a treasure map, the parchment remained in storage for thirty years until the author's son unfolded it on a table and understood its meaning, trying to make sense of his father's work. The son scanned the drawing of the map in fragments and posted them on his Twitter account @ Kya7, challenging anyone who dared to solve it.

DISCOVERED AS A TREASURE, THE LABYRINTH QUICKLY WENT VIRAL. 


The response was a success, despite the fact that the challenge was at the very least herculean, a Georgian knot of a magnitude rarely seen until that very moment. Reasons to take into consideration, which had to be taken into account by anyone who really wanted to know each and every one of the difficulties to overcome.


Truly and in spite of all the adversities and possible effects that it could cause, wanted to continue participating in its avoidance. The response was not long in coming, receiving thousands of requests from users who wanted access to a complete copy of the labyrinth that his father had bequeathed him by chance to try to solve it. 


READ IT IN SPANISH: Un laberinto de 7 años de trabajo que se ha resuelto 30 años 


Here you can see some details of such a laborious work in which he only used his ingenuity to do it, without tricks or second versions. In addition to some of the many results sent by the participants, it is worth mentioning that practically all of them were unsuccessful and vain attempts to solve it successfully. 



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