Architectural Cases

Antony Gormley's latest exhibition, 'What Holds Us,' transforms the historic Galleria Continua in San Gimignano, Italy, into a profound exploration of the human form's interaction with the built environment. This captivating display, running from May 9th to September 13th, 2026, challenges viewers to contemplate the fundamental elements that provide structure and support, both physically and metaphorically. Through a diverse array of materials, from the everyday nature of cardboard to the enduring presence of stone and concrete, Gormley prompts a re-evaluation of what we perceive as stable and permanent in our surroundings.

Gormley's 'What Holds Us' Exhibition Unveils Body-Architecture Dialogue in San Gimignano

In a compelling artistic endeavor, Antony Gormley has launched his latest exhibition, 'What Holds Us,' at the distinguished Galleria Continua in San Gimignano, Italy. From its opening on May 9th and continuing through September 13th, 2026, the exhibition occupies the former cinema-theater, inviting patrons to engage with a thought-provoking collection of sculptures. Gormley, an artist celebrated for his innovative approaches to form and space, transforms the human body into architectural landscapes within the 14th-century walls of the gallery. His installation, 'Innercity,' a labyrinthine structure crafted from fifteen colossal cardboard 'body buildings,' is a focal point. These site-specific creations, some inviting passage and others deliberately obstructing, convert anatomical elements like limbs and cavities into an intriguing, somewhat precarious, architectural experience. The choice of cardboard, a material both ubiquitous and transient, creates a striking juxtaposition against San Gimignano's ancient stone and masonry, highlighting themes of impermanence and the constant rebuilding of our constructed world. Beyond the delicate nature of cardboard, Gormley employs robust materials such as basalt, terracotta, and concrete to craft pieces like 'Basalt Blockworks,' which lean directly against the gallery's aged walls, and 'Slabworks,' monumental terracotta figures that emphasize mass and contact. A concrete 'Bunker' titled 'Skew II' further explores themes of enclosure and the body's place within confined spaces, presenting a dark interior through an opening at what appears to be a mouth. Through this masterful blend of materials and forms, Gormley compels observers to move, observe, and interact with the sculptures, fostering a dynamic dialogue between the individual and the architectural fabric.

Gormley's exhibition offers a profound meditation on existence and our relationship with the surrounding world. By transforming familiar architectural elements and human forms, he encourages us to look beyond the superficial and consider the unseen forces and fragile structures that underpin our realities. The display serves as a potent reminder that the environment we inhabit is not merely a backdrop but an active participant in shaping our experiences and perceptions. It prompts us to question the solidity of our world and acknowledge the continuous, often delicate, effort required to maintain it.

Unveiling Manhattan's Reflective Soul: A New Perspective on the Urban Landscape

The Alluring Power of Glass Facades in Urban Landscapes

Navid Baraty's photographic endeavor, titled “Hidden City,” delves into the heart of Manhattan, using the pervasive glass facades of its buildings as a primary medium. These reflective surfaces are not merely passive elements but active participants in reshaping the visual narrative of the metropolis. Through his artistic vision, Baraty demonstrates how these architectural features transform the city into intricate, multi-layered tapestries, where the boundaries between structure, geometry, and optical illusions become delightfully blurred.

Elevated Views: Redefining Manhattan's Skyline through Reflection

Capturing images from the towering heights of Manhattan's skyscrapers, Baraty draws our attention to the remarkable reflective properties of glass. Streets bustling with activity, expansive skylines, and entire city blocks are not just observed but are dramatically re-projected onto the external envelopes of these buildings. This phenomenon generates suspended urban layers, where the city's familiar components are rearranged and repositioned, their appearance subtly altering with shifts in ambient light and the observer's viewpoint.

The Reconfiguration of the Urban Grid through Mirrored Surfaces

From these lofty perspectives, the structured grid of Manhattan undergoes a profound visual metamorphosis on the mirrored surfaces. Linear thoroughfares appear to ascend vertically, while clusters of buildings merge and reassemble into unconventional, non-linear compositions. These resulting visual arrangements unveil hidden patterns within the city's dense architectural fabric, showcasing the rhythmic repetition of windows, the interplay of shadows, and the defining structural lines that are often less apparent at ground level.

Capturing the Abstract Motion of the City

Simultaneously, the vibrant pulse of the city's movement is abstractly recorded within these reflections. The continuous flow of traffic, the ceaseless activity of pedestrians, and the intricate network of intersections are subtly translated into ephemeral spatial traces across the glass surfaces. The urban environment is thus presented in a dual state: physically rooted in its foundational infrastructure, yet simultaneously re-encoded and re-imagined within the shimmering skins of its reflective architecture.

A Dynamic System of Overlapping Realities

Through this meticulous process, photographer Navid Baraty portrays Manhattan as an intricate system of overlapping spatial interpretations. Here, the boundary between surface and reflection is fluid, and perspective plays a continuous role in reorganizing our understanding of the city's constructed environment. His work encourages a deeper appreciation for the transient and often illusory nature of urban perception, where the city constantly redefines itself through the medium of its own reflections.