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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.

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.

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.

READ IT IN SPANISH: La última tendencia pasar las vacaciones en una casa con ventanas recicladas

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.

Jaakko Pernu is a landscape sculptor of Finnish origin, who bases his work on techniques in which he reuses branches and plant debris, which he collects in the surroundings of the installation site, waste that after selecting them.

Making monoliths and geometric figures, which are inspired by the fragility of a landscape cut by curvilinear shapes. The specific interventions on the territory usually play with some contradictions or antithesis, such as: the light combined with the general shape of the elements that make up the landscape where it is intended to integrate.

Or in another sense in the aesthetics and contour as well as the texture, color and texture of the organic matter. Or even in the case of Jaakko in the subtle translucent forms, which contrast with a solid structure that as a whole conveys a message of commitment and communion with the natural environment.

His sculptures are often designed on a large scale, with which he achieves an immediate visual impact due to the great contrast with the territory in which he intervenes. With this method he gives his works of art a tangible reading as well as a poetic lyricism that establishes an equidistant point between the spartan and the creative of the landscape and its narrative performance.

NATURAL SCULPTURES REFLECTING THE POETRY OF THE LANDSCAPE

Brilliant works where the geometric shapes adapt like pieces of a puzzle fitting in a magical way with the peaks of the trees, as if they were the product of a natural process. Jaakko explores the influence of humans on nature and vice versa in an endless cycle as if it were a Moebius strip.

And where above any other consideration prevails innate intuition and a respect for the natural environment with which he establishes a dialogue, through which he tries to create a unique and complicit language. A language whose dialect is both universal and secret, and behind which there is a refined work, which explores the influence of human beings on nature and vice versa.

READ IT IN SPANISH: Jaakko Pernu, esculturas hechas con ramas que invocan lo ancestral

Jaakko's work is motivated by the artist's experiences, during his childhood in Finland, where he was always helping his father to build boats, manipulating wood into organic forms. That experience with creating elegant forms is reflected in his large-scale Land Art sculptures. Pernu's preferred working material being willow branches, which he weaves with his own hands.