American artist James Casebere has produced a series of staged photographs portraying a future world in which people are forced to build shelters to escape catastrophic flooding.

Casebere created the series titled On the Water’s Edge to draw attention to issues relating to climate change and, in particular, the need for humans to respond creatively to the threat posed by rising sea levels.

“Forty per cent of greenhouse gases are created by buildings,” the artist told, highlighting one of the key factors contributing to global warming. “It’s imperative that we reduce that number drastically through design, insulation, and alternative energy sources.”

“The impact is inevitable and architects must take responsibility for reducing it,” he added, “as well as adapting to a more precarious, dangerous, environment.”

美國藝術家詹姆斯·凱斯伯瑞(James Casebere)製作了一系列分階段的照片,描繪了一個未來世界,人們被迫建造避難所以躲避災難性洪水。


畫家告訴記者:“百分之四十的溫室氣體是由建築物產生的,”他強調了造成全球變暖的關鍵因素之一。 “必須通過設計,絕緣和替代能源來大幅度減少這一數字。”


An interest in architecture and coastal living led Casebere to develop the project, which is a follow up to a set of images he created in 2016 based on the buildings of Luis Barragán.

The Emotional Architecture exhibition at New York’s Sean Kelly Gallery presented a stylised version of Barragán’s buildings, which the artist recreated in miniature and photographed to express the sense of spirituality inherent in the spaces.


紐約肖恩·凱利美術館(Sean Kelly Gallery)的“情感建築”展覽展示了Barragán建築物的風格化版本,藝術家將其重新製作成微型照片,並進行了攝影,以表達空間固有的靈性感。

For On the Water’s Edge, Casebere looked to the future rather than the past, whilst incorporating some of Barragán’s values into the design of the futuristic hybrid structures he modelled at his studio in Pittsfield, Massachusetts.


“Climate change has been a concern of mine,” he said, “and for years I had been strangely enamoured of a 19th-century lifesaving station at Caffey’s Inlet on the Outer Banks of North Carolina.”

“So, I began to create my own structures for the beach; lifesaving stations as social infrastructure for migrant populations fleeing the devastation of ever-increasing storms – safe spaces for a drowned world.”



The models are made from foam core, paint and plaster, with the effect of water created using melted resin that is carefully shaped with a heat gun and placed onto a painted wooden base.

Backgrounds are compiled in Photoshop using Casebere’s own images or shapes based on his personal memories.



Casebere said his abstract refuges reference the work of architects as diverse as Herzog and deMeuron, Japan’s Akihisa Hirata and Costa Rican firm Studio Saxe, as well as residential buildings he encountered near Puerto Vallarta in Mexico.

卡斯伯雷說,他的抽象避難所提到了建築師的工作,包括赫佐格和德默龍,日本的秋田平田和哥斯達黎加的Studio Saxe等建築師,以及他在墨西哥的巴亞爾塔港附近遇到的住宅建築。

In particular, Paul Rudolph’s Florida houses, built between 1946 and 1961 in response to their subtropical setting, informed the idea of creating structures that appear to be in perfect synergy with nature.

保羅·魯道夫(Paul Rudolph)的佛羅里達房屋於1946年至1961年間為響應亞熱帶環境而建,它傳達了創造與自然完美融合的結構的想法。

The composite ensembles are intended to suggest a new form of social space that is a hybrid of various architectural forms, including lifeguard stations, bath houses, beach houses, hostels and emergency shelters.

“I may be inspired by, influenced by, and I might even steal from existing buildings, but I am trying to create new spaces out of that, to generate possibilities and new thinking about the future,” said Casebere.



Despite their realistic appearance, the buildings have an unfinished quality that means they seem ready to welcome any refugees seeking shelter.

The artist added that it was an ambition to “collaborate with others to get things built for the more vulnerable around the globe”, but stated that the objective of his photographs is simply to provoke an emotional response in the viewer.



“They are done to inspire others and [are] not concrete finished designs,” he pointed out.

The photographs that form the On the Water’s Edge series were created for an exhibition that opened on 11 January at Galerie Templon in Paris. The exhibition will run until 7 March 2020.


構成“水邊”系列的照片是為1月11日在巴黎的Templon畫廊開幕的展覽而創作的。 展覽將持續到2020年3月7日。



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