odo:office for design operations cultivate the notion that social and environmental factors that remind us of our own humanity are catalysts for relevant design and innovation. the end product of the design process, be it in the form of architecture, urban & landscape design, graphic design, technology, music, art, film or photography belongs to everyone. design is our way to show the world that everyone deserves a life of dignity, beauty and wonder.

"the sun does not forget a village just because it is small."
african proverb

mpdrolet:

Rio de Janeiro

Herman Mao

darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)
darksilenceinsuburbia:

Justin Barton
From Atomic War in Details
The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.
Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: SS-18 ‘Satan’ (Active 1967-Present)SS-24 ‘Scalpel’ (Active 1976 -2008)AS-4 ‘Kitchen’ (Active 1962-2007)Titan II (Active 1962-1988)SS-N-3 ‘Shaddock’ (Active 1959-1990)

darksilenceinsuburbia:

Justin Barton

From Atomic War in Details

The series is a photographic study of the parallel lives of Soviet/CIS (ex-Soviet States) and US ICBM missile crews. I am exploring their lives and history by focusing on the objects they use and used; nuclear weapons and launch facilities in the USA and CIS.  The stories of the bumps, scratches and patinas of the actual objects, invite the viewer to imagine the twin lives of the men (and women) who work in these environments. Shot over two years using a Wista 8x10in Camera on Kodak 160nc Film.

Such comparisons expose the sides ethnologically and the minutiae are symbolic of greater political meaning. The humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war and are an examination of the understated reality of the veneer that protects us from an apocalypse.


Weapons and Facilities in this selection of photographs (Nato designations for USSR and CIS) ICBMs and Cruise missiles include: 

SS-18 ‘Satan’ (Active 1967-Present)
SS-24 ‘Scalpel’ (Active 1976 -2008)
AS-4 ‘Kitchen’ (Active 1962-2007)
Titan II (Active 1962-1988)
SS-N-3 ‘Shaddock’ (Active 1959-1990)

mpdrolet:

Green Wall With Hole, Bogalusa, LA, 1993

(via sraphmchne)

death-by-lulz:

my room when my parents get visitors

Featured on a 1000Notes.com blog

Below are six photos showing the incredible growth of the Za’atari refugee camp in Jordan over the last three years. As the world marks the three-year anniversary of the crisis in Syria, the toll the conflict has taken on refugees is overwhelming and hard to imagine.

At the very least, these images can show you the scale of the problem — and it doesn’t seem to be slowing down any time soon.

The true scale of the Syrian crisis shown in six shocking images.

kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.
kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinair, Chef Redzepi.

kateoplis:

NOMA has once again reclaimed its title as the World’s No. 1 Restaurant. Congratulations to forager-extraordinairChef Redzepi.

policymic:

Here’s how successful people’s brains differ

According to Stanford psychologist Carol Dweck, it’s all about your own mindset. Successful people tend to focus on growth, solving problems and self-improvement, while unsuccessful people think of their abilities as fixed assets and avoid challenges.

Read more


Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: “Thinking Matters”
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
Gallery Marie-Laure Fleisch

Nikolaus Gansterer: Thinking Matters

The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.

Gallery Marie-Laure Fleisch

(via asylum-art)

destroyed-and-abandoned:

Lecture hall inside a former Hitler Youth training school .

Source: Subversive Photography (flickr)

icancauseaconstellation:

Santa Monica Pier, Santa Monica, CA, 1988 — Roger Minick

Hamburg Announces Plans to Become a Car-Free City Within 20 Years

Hamburg is currently working on a plan that would eliminate the need for cars within the next 15-20 years, making the city a greener, healthier and more pleasant place to live. The city’s proposed Grünes Netz, or “Green Network” will create pedestrian and cycle paths to connect the city’s existing, substantial green spaces, and provide safe, car-free commuter routes for all residents.

Read more: Hamburg Announces Plans to Become a Car-Free City Within 20 Years | Inhabitat - Sustainable Design Innovation, Eco Architecture, Green Building 

wherearchitectureisfun:

WAÏF: Where architecture ïs a red tent
Habitación. Smiljan Radic. 1992
subtilitas
wherearchitectureisfun:

WAÏF: Where architecture ïs a red tent
Habitación. Smiljan Radic. 1992
subtilitas
wherearchitectureisfun:

WAÏF: Where architecture ïs a red tent
Habitación. Smiljan Radic. 1992
subtilitas
wherearchitectureisfun:

WAÏF: Where architecture ïs a red tent
Habitación. Smiljan Radic. 1992
subtilitas
wherearchitectureisfun:

WAÏF: Where architecture ïs a red tent
Habitación. Smiljan Radic. 1992
subtilitas

wherearchitectureisfun:

WAÏF: Where architecture ïs a red tent

Habitación. Smiljan Radic. 1992

subtilitas

(via chabelijardim)

Running on The Default Network
by Boyce