The term “Brutalism” was first used by architect Alison Smithson in 1953. She was de- scribing an unexecuted project for a house in London’s Soho – dubbing its warehouse aesthetic of bare concrete, brick and wood as “the first exponent of the ‘new brutalism’” in England. The movement was recognised the world over, and contemporary designers still draw influence from its monolithic, block-like forms. Adriana Mora is one such artist. The Mexican digital illustrator – who has worked for the likes of Apple, Adidas, Uber and Microsoft – constructs three-dimensional buildings within idyllic waterscapes. In these images, the visual language of Brutalism is juxtaposed with dreamlike scenarios. Isolated structures appear from rippling pools, whilst curtains remain closed to the out- side. The resulting dwellings are calming and otherworldly, existing just out of reach. Unimaginable houses are embedded within uninhabitable landscapes. byelectra.com.
Into the Imaginary
Questions of Identity
Carolina Arantes’ ongoing project, First Generation, has won the 2017 Firecracker Photographic Grant, an initiative to support women photographers.
Deichtorhallen Hamburg brings together a selection of Alec Soth’s intimate portraits of everyday suburban life