Landscape of cohesin-mediated chromatin loops in the human genome

Cell lines

The cell types and lines in this study were either obtained from cell repositories or established or differentiated in the Snyder and Dalton laboratories at Stanford University and the University of Georgia, respectively (Supplementary Tables 1, 2). All tissue culture was done according to the manufacturer’s recommendations. One of the commercially available cell lines, K1 (thyroid, papillary carcinoma), is on the list of commonly misidentified cell lines (ICLAC). The relevant cell line (CVCL_9918) was also derived from a thyroid papillary carcinoma. In the event of misidentification, the conclusions of our study would not be affected because both cell lines represent papillary thyroid carcinoma.

ChIA-PET experiments

We performed ChIA-PET experiments with modifications to previously published protocols2,22. These modifications have also been independently described17,23. We used Illumina’s Nextera tagmentation to generate sequencing libraries. In brief, cells were crosslinked and subjected to nuclear lysis followed by chromatin shearing (no restriction enzyme was used). Immunoprecipitation was performed overnight at 4 °C with antibodies against the cohesin subunit RAD21 (Abcam Anti-RAD21 antibody (ab992) https://www.encodeproject.org/antibodies/ENCAB529YRC/). The immuno-complexes were pulled down with Protein-G dynabeads (Life Technologies #10003D, New York). Biotinylated linkers were ligated to the enriched fragments, followed by proximity ligation overnight at 16 °C.

Crosslinking was reversed at 65 °C with the use of Proteinase K followed by DNA purification. We used Illumina Nextera Transposase to add sequencing adapters to ChIA-PET libraries. Biotinylated fragments were enriched by pull-down with Streptavidin Dynabeads (M-280; Lifetechnologies #11205D, New York). The final libraries were sequenced on an Illumina HiSeq 2000.

ChIP–seq experiments

Chromatin immunoprecipitation followed by massively parallel sequencing was carried out as previously described32. Cells were crosslinked with formaldehyde at a final concentration of 1{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} for 10 min at room temperature. The reaction was quenched with glycine at a final concentration of 125 mM and nuclear lysates were sonicated using a Branson 250 Sonifier (power setting 2, 100{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} duty cycle for 7 × 30-s intervals). Clarified lysates corresponding to 20 million cells were treated with 1–5 μg of antibody against H3K27ac (Abcam #4729; https://www.encodeproject.org/antibodies/ENCAB000BSK/) coupled to Protein G Dynabeads (Life Technologies #10003D). The protein–DNA complexes were washed with RIPA buffer and eluted in 1{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} SDS TE at 65 °C. Following cross-link reversal and purification, the ChIP DNA sequencing libraries were generated according to Illumina DNA TruSeq DNA Sample Preparation Kit Instructions (Illumina Part # FC-121-2001). Pooled libraries were sequenced on an Illumina Hi-Seq 4000. To generate high-quality data sets, we used the same antibodies as in our previous studies9,32 which have been validated according to ENCODE standards27.

RNA-seq experiments

RNA samples were extracted using the Qiagen All-Prep kit, following the manufacturer’s instructions. Libraries were prepared from total RNA using the TruSeq Stranded Total RNA Library Prep Kit, following the manufacturer’s instructions. All libraries were sequenced on the Illumina Hiseq 4000

ATAC–seq experiments

ATAC–seq was carried out as previously described68 and sequencing was carried out on an Illumina HiSeq 2000 with 2 × 100 paired-end sequencing.

ChIA-PET processing pipeline

ChIA-PET data were generated in replicate for all 24 cell lines; all libraries were sequenced to an average depth of 214 ± 5.5 (mean ± s.d.) million paired-end reads (referred to as paired-end tags or PETs) (Supplementary Table 2). Data were processed in a similar way to the workflow used in the Mango toolkit28, as follows.

Trim adaptor sequences

Illumina Nextera adaptor sequences (CTGTCTCTTATA and TATAAGAGACAG) were trimmed from all PETs using cutadapt in paired-end mode (version 1.11; non-default parameters: -q 15 -O 4 -m 20).

Trim linker sequence

All PETs were scanned to identify and remove the linker sequence (GTTGGATAAG), as well as any sequences downstream of the linker sequence. PETs less than 20 bp in length after linker removal were discarded.

Align paired-end sequences

Each set of paired-end reads was aligned to the hg19 genome separately using bowtie (version 0.12.8; non-default parameters: -n 2 -l 50 -k 1 –mapq 40 –best -m 1). Paired-end reads that mapped to multiple locations were discarded.

Remove duplicate paired-end sequences

PETs that mapped to identical locations were filtered to retain only a single PET.

Generate a set of unified peak calls

For each sample, the two sets of uniquely mapped paired-end reads were merged and peaks were called using MACS269 (version 2.1.1.20160309; parameters: -g hs -f BED -q 0.01). Peak calls across all samples were combined and then extended by 500 bp in either direction. Overlapping peaks were merged to form a single interval that spanned all overlapping peaks, after which peaks in ENCODE-defined blacklist regions were filtered. In total, we obtained 286,620 RAD21 peaks (Supplementary Table 3). These merged peak regions were used as our ‘anchor regions’ for all subsequent analysis.

Generate a set of linked paired peaks

For all pairs of peaks that were >10,000 bp and <5,000,000 bp apart on chr1-22 and chrX, the total number of PETs that linked each pair was tabulated. For samples with >2,250,000 unique PETs, the total number of PETs was down-sampled to 2,250,00 before any further analysis.

Our final data set consisted of a matrix, Mi,j, in which each row (i) represents a single paired-peak, and each column (j) represents a single sample. Element mi,j indicates the number of PETs linking the two anchor regions. We normalized the data by standardizing each row in Mi,j, and then quantile-normalizing the columns. The range of values in each column was then re-scaled to between 0 and 1000.

Generating the pan-cell line loop-call data set

Unique PET data (that is, data from ‘Remove duplicate paired-end sequences’ in the ChIA-PET processing pipeline above) from all cell lines and all replicates were pooled together. Next, we tabulated the number of PETs that connected all pairs of anchor regions >10 kb and <5 Mb apart in our unified peak set (Supplementary Table 3). Finally, the Mango scoring methodology28 was used to assign each peak pair a P value; Mango uses a Bayesian scoring methodology to determine the expected number of PETs connecting any two regions on the basis of the distance between the two regions and the local ChIP-efficiency. We used a threshold of P < 2.3 × 10−9 to arrive at our pan-cell line loop set (Supplementary Table 4). We used a relatively stringent cutoff due to the large number of PETs being analysed. At this cutoff our FDR was 2.7 × 10−6 using the Benjamini–Hochberg procedure and 0.013 using the Bonferroni approach. For all subsequent analysis described below, we used the FDR estimate from the Benjamini–Hochberg procedure.

RNA-seq processing

RNA-seq data were generated in replicate for 23 out of 24 cell lines (Supplementary Table 2); we obtained on average 66 ± 18 million paired-end reads per sample (mean ± s.d.). For samples with >60 million reads, FASTQ files were down-sampled to 60 million reads before further analysis. Transcript abundances were quantified using kallisto70 (version 0.43.0; non-default parameters:–bias). Transcript sequences (that is, target sequences) were obtained from Gencode (release 25; lifted to GRCh37 coordinates). Duplicate transcripts were removed, as well as transcripts not classified as ‘protein_coding’ or ‘lncRNA’, yielding a final list of 93,430 transcripts. For all analyses, we considered only 69,598 transcripts with a maximum abundance of >1 transcripts per million (TPM) across all 23 cell lines. To produce gene-level estimates of expression, we summed the TPM values for all transcripts that belonged to the same gene. For all analyses, we considered only 22,197 genes with a maximum abundance of >1 TPM across all 23 cell lines. For GM12878 cells, we used data from a previous study32. To normalize RNA-seq data, we first standardized (that is, z-score scaled) TPM values for each transcript or gene across all cell lines and then quantile-normalized all transcript or gene abundance levels between samples.

To visualize RNA-seq data as signal tracks, down-sampled FASTQ files were aligned to the hg19 genome using HiSat2 (version 2.0.5; non-default parameters: -X 1000–fr–no-mixed–no-discordant)71, after which genome-wide coverage tracks were produced using bedtools (bedtools genomecov -bga -split -ibam). Coverage values were scaled by a constant factor (109/total number of reads) to account for differences in sequencing depth.

H3K27ac ChIP–seq data processing

ChIP–seq data were generated in replicate for 22 out of 24 cell lines (Supplementary Table 2); we obtained on average 43 ± 9 million paired-end reads per sample (mean ± s.d.). Illumina TruSeq adaptor sequences were trimmed using cutadapt in paired-end mode (non-default parameters: -q 15 -O 4 -m 20). Reads were aligned to hg19 using bowtie (version 0.12.8; non-default parameters: -m 1–fr–chunkmbs 500 -n 2 -l 50–mapq 40 –best) after which duplicate reads were removed using Picard MarkDuplicates. Finally, peaks were called using MACS269 (non-default parameters: -q 0.01). Peaks across all samples were combined and overlapping peaks were merged to form a single interval spanning all overlapping peaks. Peaks seen in fewer than two samples, peaks that overlapped ENCODE blacklisted regions (https://sites.google.com/site/anshulkundaje/projects/blacklists), and peaks on chrM and chrY were removed from further consideration. The final list of ‘enhancer’ regions consists of 288,711 peaks (Supplementary Table 5).

Genome-wide signal tracks for each sample were generated in two stages: (i) assess ChIP–seq quality and obtain the predominant fragment length using phantompeakqualtools (https://code.google.com/archive/p/phantompeakqualtools/); (ii) use align2rawsignal (https://code.google.com/archive/p/align2rawsignal/wikis/Method.wiki) to generate signal track (parameters: –n = 5, -k = epanechnikov, -l = [fragment length from step (i)], -w = 150, -f = 0). Finally, for each cell line, we extracted the signal in each of 288,711 peaks using bwtools72 (bwtools extract bed) and calculated the average value for each peak. The final data set consists of a matrix Mi,j, in which each row (i) represents a single peak and each column (j) represents a single sample. We normalized the data by standardizing each row in Mi,j, and then quantile-normalizing the columns. These normalized data were used for all downstream analyses.

Identifying super-enhancers

To call super-enhancers in each cell line we used the ROSE pipeline73,74 (default parameters).

ATAC–seq data processing

ATAC–seq data were generated in 18/24 cell lines; we obtained on average 13 ± 7 million paired-end reads. Adaptor sequences were trimmed using cutadapt in paired-end mode (non-default parameters: -q 15 -O 5 -m 30). Reads were aligned to hg19 using bowtie (version 0.12.8; non-default parameters: -X 2000, -m 1) after which duplicate reads were removed using Picard MarkDuplicates. Genome-wide signal tracks for each sample were generated using align2rawsignal (https://code.google.com/archive/p/align2rawsignal/wikis/Method.wiki)

Overlap between cohesion-mediated chromatin loops and high-resolution Hi-C loops, contact domains and TADs

We obtained the coordinates for Hi-C loops from seven cell lines (including GM12878) and contact domains in GM1287812 to calculate the overlap with our pan-cell line loops (Fig. 1d). We also obtained the coordinates for TADs across 21 human tissues and cell types19 and compared the size of these TADs to our pan-cell line loops (Fig. 1c).

Assessing CTCF motif orientation

A list of CTCF motif positions and orientations was downloaded from the ENCODE project53. We used the CTCF_known1 motif for all analysis; this motif most closely matched the one used in a previous analysis12. Next, for all loops that contained exactly one instance of the CTCF motif at both ends (that is, in both anchor regions), we calculated the percentage of loops that had each of four possible orientations (+/−, −/+, +/+, and −/−). This result was relatively robust to the choice of threshold used to define the pan-cell line loop set (FDR<10−5: 69{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}, FDR<10−4: 68{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}, FDR<0.01: 66{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}, FDR<0.05: 64{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}).

Characterizing ‘hub’ anchor regions

Promoter regions were defined as a 500-bp region immediately upstream of a gene; gene coordinates were taken from Gencode Release 25. Enhancer regions were defined as the set of 288,711 H3K27ac peaks defined from our ChIP-seq data set (see ‘H3K27ac ChIP-seq data processing’ for more information). All anchor regions were binned by the number of interactions they had in the ‘merged loop-call’ data set (Supplementary Table 4). We assessed whether anchor regions in a particular bin were enriched for overlap with functional elements such as enhancers, promoters, or contact domain boundaries (taken from a previous publication12) using Fisher’s exact test. For each bin, we tabulated the number of anchor regions that overlapped or did not overlap a functional element; we then tabulated the number of anchor regions in all other bins that overlapped or did not overlap a given functional element. These four values were used to populate a 2 × 2 contingency table and to compute a significance of enrichment. To test the robustness of our results with respect to the threshold used to define the set of merged loop-calls, we repeated this analysis using an FDR<1{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} (summary statistics for the fold-enrichment and P values can be found in Supplementary Table 9).

Qualitatively, we observe very similar results to Fig. 3a—regions with many interactions are enriched for enhancers and contact domain boundaries, whereas promoters tend to overlap regions with fewer interactions.

PCA

We performed PCA on the matrix of normalized interaction frequencies of 85,294 loops by 48 samples using the prcomp function in R (default options). The 85,294 loops were derived from the set of pan-cell line loops (Supplementary Table 4) after filtering for interactions that had >4 PETs in at least one sample. We repeated the analysis using the entire set of pan-cell line loops at various FDR cutoffs and observed high correlation in PC1 and PC2 values (FDR < 10−5: rPC1 = 0.996, rPC2 = 0.995; FDR < 0.05: rPC1 = 0.983, rPC2 = 0.981). We also observed similar results when using different PET cutoffs to filter loops (>2 PETs: rPC1 = 0.999, rPC2 = 0.997; >10 PETs: rPC1 = 0.993, rPC2 = 0.985).

Testing for similarity in interaction profiles between similar cell types

For a pair of samples, we calculated the Spearman rank correlation between the raw PET counts across the set of pan-cell line loops identified (124,830 loops) for which there were at least four PETs in at least one sample (85,294 loops). For Fig. 2c, we plotted the distribution of correlation coefficients for the following groups: ‘all’ (all pairs of samples excluding replicates); ‘same germline layer’ (the assignment of individual cell lines to germline layers is provided in Supplementary Table 1; note that replicate pairs are included in this grouping); ‘same tissue’ (the assignment of individual cell lines to tissue is provided in Supplementary Table 1; note that replicate pairs are included in this grouping); ‘biological replicates’ (replicate samples); and ‘isogenic cell types’ (these include cell lines derived from a single male individual (MSLCL, MSFIB, and MSiPS); note that replicate pairs are included in this grouping).

Differences in the distribution of correlation coefficients were assessed using a two-sided Wilcoxon rank-sum test. P values were corrected for multiple hypothesis testing using the Bonferroni approach. We repeated the analysis including replicate pairs in the ‘all’ distribution and observed similar results (Pall vs isogenic cell types = 0.4, Pall vs biological replicates = 4.38 × 10−15, Pall vs same tissue = 2.52 × 10−38, Pall vs same germline layer = 1.23 × 10−25). The results were also robust to the particular PET threshold used (we examined thresholds of 1–20 PETs in at least one sample; Extended Fig. 2e). Finally, qualitatively similar results were observed when we used normalized PET interaction frequencies instead of raw PET counts (Pall vs isogenic cell types = 0.79, Pall vs biological replicates = 2.6 × 10−15, Pall vs same tissue = 9.2 × 10−27, Pall vs same germline layer = 3.2 × 10−9).

Assessing the effect of technical confounders on loop interaction frequency

For each ChIA-PET sample, we recorded the following potential confounding variables: batch (the set of samples which were processed at the same time and pooled together for sequencing); normalized strand cross-correlation coefficient (NSC; a metric of ChIP efficiency/quality27); number of peaks called; and number of uniquely mapped PETs between 10 kb and 5 Mb.

We tested for an association between principal components 1–10 (see ‘PCA’) and each covariate described above using a linear model (PC ~ technical_variable) and assessed significance using the ANOVA implementation in R. P values were corrected for multiple hypothesis testing using the Benjamini–Hochberg procedure. At an FDR <10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}, we detected no significant associations. Thus, we chose not to correct for any of these technical confounders when testing for variable loops (see below).

Identifying variable loops

We began with the set of 124,830 merged loop calls and filtered loops to include only those that had ≥4 PETs in at least one sample yielding 85,294 loops. Next, we estimated the mean to variance relationship in the data using the voom method75 and used the inverse variance weights in the subsequent analysis. To assess loops that exhibited significant variability across cell types, while accounting for technical variables observed between replicates from the same cell type, we used a linear mixed effects model as previously described76. For each of the 85,294 loops, we modelled the log(normalized interaction frequency) as a function of the cell line (treated as a random effect) using the ‘lmer’ function from the lme4 R package. We then compared the mixed effects model to a simple linear model that lacked the random effect component; a P value was then calculated using a log-likelihood ratio test. P values were corrected for multiple hypothesis testing using the Benjamini–Hochberg procedure.

We tested two alternate approaches and found significant overlap with the approach described above.

Linear model

For each loop, we fitted a linear model [log(normalized interaction frequency) ~ cell type] and assessed its significance using the ANOVA implementation in R. P values were corrected for multiple hypothesis testing using the Benjamini–Hochberg procedure. At an FDR <10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}, we found 21,353 loops; 20,926 of these were also found using the approach described above (98{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}; 2.34 fold-enriched compared to hypergeometric expectation)

Non-parametric approach

For each loop, we tested for differences in the normalized interaction frequency using a Kruskal–Wallis test. As a non-parametric approach is likely to be under-powered, we rank ordered all interactions according to P values and examined the overlap for the top 35,698 interactions (that is, the same number as found using the mixed effects linear model). A total of 23,117 overlapping hits were found (64{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of the set found using the mixed effects linear model; 1.55 fold-enriched compared to hypergeometric expectation).

Defining a set of non-variable loops (static loops)

To compare various attributes of our differential loops, we defined two sets of invariant or static loops as follows.

Static (null set) 1

For each of the 85,294 loops we tested for differential interaction frequency, we computed an ad hoc metric as follows:

$$rmSrmcrmormrrme_rmsrmtrmarmtrmirmc=frac1rmrrmermlrmarmtrmirmvrme,rmermnrmtrmrrmormprmytimes rmmrmermarmn,rmPrmErmT,rmfrmrrmermqrmurmermnrmcrmy$$

in which relative entropy is defined as follows:

$$rmRelative,rmentropy=sum _jf_jlog _2fracf_jq_j$$

j sums across all samples (that is, cell lines) and fj represents the fractional PET count in sample j (that is, the ratio of the number of PETs in sample j divided by the total number of PETs for this particular loop). qj represents the fractional PET count under a null model assuming an equal number of PETs in each sample. In essence, a high static score would indicate a strongly interacting loop with uniform interaction frequencies across all cell lines. All loops were ranked in descending order by their static score and we selected the same number of high-scoring interactions as differential interactions identified (FDR <10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}).

Static (null set) 2

From the set of 85,294 loops tested for differential activity, we selected a set of interactions found to not have differential activity (FDR >50{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}), but matched for the following properties to the set of differential interactions (FDR <10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}): number of loops; distribution of loop sizes; and distribution of P values assigned by Mango (from the merged loop data set).

The last criterion helps to ensure that the static set of interactions is roughly comparable in quality to the differential interaction set.

Defining housekeeping and cell-type-specific genes

For all 22,197 genes, we computed a relative entropy score as defined in ‘Defining a set of nonvariable loops (static loops)’ above. We then removed genes with low expression (minimum expression across all samples had to be >1 TPM). Genes in the top and bottom 10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} as ranked by the relative entropy score were designated as ‘cell-type-specific’ and ‘housekeeping’ genes, respectively. Finally, we assessed whether variable or non-variable loops were enriched for housekeeping genes or cell-type-specific genes as follows. For the set of variable or non-variable loops (both null set 1 and null set 2), we tabulated the number that contained or overlapped more than one housekeeping or cell-type-specific gene. Similarly, we tabulated the number of variable or non-variable loops that contained or overlapped no genes in either the housekeeping or cell type-specific set. Enrichment was assessed using a two-sided Fisher’s exact test.

Chromatin state analysis with cell-type-specific loop ends

Chromatin state calls using a 15-state model for 12 cell lines were obtained from the Roadmap Epigenomics Mapping Consortium39 (Supplementary Table 1). We merged chromatin states calls into eight categories as follows: (1) TSS: 1_TssA, 2_TssAFlnk; (2) BIV: 10_TssBiv, 11_BivFlnk; (3) TX: 3_TxFlnk, 4_Tx, 5_TxWk; (4) REPRESS: 13_ReprPC, 14_ReprPCWk; (5) REPEAT: 8_ZNF/Rpts; (6) ENH: 12_EnhBiv, 6_EnhG, 7_Enh; (7) HET: 9_Het; and (8) QUIES: 15_Quies.

 Next, for each cell line, we identified a set of loops that were present only in the cell line of interest (CellLinequery) and not in all other cell lines (CellLineothers) as follows: 1. Calculate a t-statistic based on the comparison of interaction frequencies (raw PET count) for all samples in CellLinequery and CellLineothers. 2. Rank order each vector of t-statistics in descending order. 3. Define the set of cell-type-specific loops as the top 10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of loops identified in Step 2.

To assess the enrichment of various chromatin states at cell-type specific loop ends, we generated a 2 × 2 contingency table populated with the following four values: 1. Number of loop-ends that participated in a cell-type-specific interaction that overlapped a chromatin element. 2. Number of loop-ends that participated in a cell-type-specific interaction that did not overlap a particular chromatin element. 3. Number of loop-ends that did not participate in a cell-type-specific interaction that overlapped a particular chromatin element. 4. Number of loop-ends that did not participate in a cell-type-specific interaction that did not overlap a particular chromatin element.

Significance was assessed using the Fisher’s exact test. P values were corrected for multiple hypothesis testing (12 cell lines × 8 chromatin states) using the Benjamini–Hochberg procedure. We repeated our analysis using different rank thresholds to define the set of cell-type specific interactions by repeating this analysis using different thresholds (5{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}, and 15{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}) and assessed the robustness of our results, by comparing the overlap in enriched/under-enriched chromatin states. At a 5{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} rank threshold cutoff, eight cell lines had perfect agreement (H1-hESC, NCI-H1437, H9-hESC, HepG2, K562, LX, MSiPS, MSFIB). Three agreed for 7/8 chromatin states (HPAEC, GM12878, NP) and one agreed for only 5/8 (Jurkat). At a 15{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} rank threshold cutoff: Eight cell lines had perfect agreement (HPAEC, NCI-H1437, H9-hESC, HepG2, K562, LX, MSIPS, NP). Four agreed for 7/8 chromatin states (MSFIB, Jurkat, HepG2, and H1-hESC).

In cases of disagreement, except for H1-hESC, the typical change in result was the BIVALENT state going from over-enriched to no enrichment. For H1-hESC, the REPEAT state went from under-enriched to no-enrichment. Nevertheless, the vast majority of results were similar across all thresholds.

To assess whether cell-type-specific loops were enriched for TSS–TSS, TSS–ENH, or ENH–ENH, we first identified cell-type-specific loops, genes, and enhancer peaks as described above. To have adequate numbers, we defined the set of cell-type specific genes as the top 20{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of genes identified using the procedure above.

Next, we counted the number of cell-type-specific loops whose ends overlapped one of the three chromatin state combinations described above. Similarly, we counted the number of non-cell-type-specific loops whose ends overlapped one of the three chromatin state combinations described above. An enrichment test was then performed using Fisher’s exact test.

Testing for an association between gene expression level and number of linked enhancers

For each cell line, we identified a set of (i) cell-type specific loops (that is, high interaction frequency in cell line of interest and not in others), (ii) enhancers, and (iii) genes (that is, high normalized expression levels in cell line of interest and not in others) using the procedure outlined above (see ‘Chromatin state analysis with cell-type-specific loop ends’). Next, for each gene that was expressed in a single cell type of interest, we tabulated the number of cell-type-specific enhancers that were linked to its promoter. To generate Fig. 3f we aggregated results across all cell lines. To test for differences in the distribution of normalized expression levels between numbers of linked enhancers, we used the Wilcoxon rank-sum test. We repeated the analysis using different cutoffs to define cell-type specific loops, including 1{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} (P1 vs 2 = 0.008, P1 vs 3+ = 0.81, P2 vs 3+ = 0.37), and 15{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} (P1 vs 2 = 5.3 × 10−11, P1 vs 3+ = 2.5 × 10−13, P2 vs 3+ = 2.4 × 10−3). We also tested different cutoffs to define genes with cell-type-specific expression including 10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} (P1 vs 2 = 1.4 × 10−5, P1 vs 3+ = 5.1 × 10−4, P2 vs 3+ = 0.47) and 17.5{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} (P1 vs 2 = 3.6 × 10−9, P1 vs 3+ = 2.7 × 10−7, P2 vs 3+ = 0.011). Lastly, we tested different cutoffs to define cell-type-specific enhancers including 5{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} (P1 vs 2 = 1.6 × 10−8, P1 vs 3+ = 3.1 × 10−6, P2 vs 3+ = 0.18) and 25{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} (P1 vs 2 = 1.6 × 10−19, P1 vs 3+ = 5.0 × 10−13, P2 vs 3+ = 0.049).

Loop architecture in disease-associated genes

We downloaded the lists of disease-associated genes from ClinVar47, the GWAS catalogue46 and haploinsufficient genes45. The set of housekeeping genes was defined as above (‘Defining housekeeping and cell-type-specific genes’). For each list of genes, we tested the association of the gene being part of the specific category (ClinVar, GWAS or haploinsufficient) and having at least X loops connected to its promoter where X was a number from 1 to 10. We repeated the same test, filtering the loops for only enhancer loops (with a H3K27ac signal at the other end), and cell-type-specific enhancer loops (a H3K27ac mark in a given cell type). P values were calculated using Fisher’s exact test and corrected for multiple testing using the Benjamini–Hochberg approach. A list of all enrichments and P values is provided in Supplementary Table 9.

Mapping genes to loops

To integrate gene expression and histone data, we generated a map of genes to loops as follows: ‘All’ (a gene was assigned to any loop within 1 kb of its start or end coordinates, as defined in Gencode version 25 lifted to hg19, or if the ORF overlapped partially with the loop); ‘Promoter’ (a gene was assigned to any loop for which its TSS was within 1 kb of either anchor region); ‘Contained’ (a gene was assigned to any loop it was entirely contained within (that is, start and end coordinates of the gene fell entirely within a loop) and its promoter was more than 1 kb from either anchor region); and ‘Promoter–enhancer’ (one loop end overlaps a promoter, the other end overlaps an H3K27ac peak).

Linking gene expression changes to changes in loop interaction frequency

For each loop, we correlated the normalized interaction frequencies across all cell types (Spearman rank correlation; n = 23 cell types with RNA-seq and ChIA-PET data) with the normalized gene expression levels across all cell types. If a loop mapped to multiple genes, we computed all possible loop–gene correlations. As a control, we shuffled the mapping between loops and genes, while maintaining the total number of genes mapped to a single loop, and re-examined the correlation between loop interaction frequency and gene expression values. This procedure was repeated 100 times and we recorded the mean correlation coefficient for each loop–gene pairing.

In Fig. 4c, we have restricted our analysis to the set of variable loops (FDR < 10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}) and plotted the distribution of actual versus randomized correlation coefficients (absolute value) for all loop-gene pairs (n = 90,657). We compared the distribution of actual correlation coefficients to ‘null’ correlation coefficients using the Mann-Whitney U test (P < 2.2 × 10−16). We repeated the analysis using the set of all loops tested for variable interaction frequencies (n = 251,678 loop-gene pairs) and observed significant results (P = 2.2 × 10−16), albeit with a lower mean correlation (0.17 versus 0.19 for the set of variable loops).

To assess what effect the mapping between loop and gene might have, we compared the distribution of correlation coefficients (absolute value) for all loop-gene pairings for all four maps described above (All, Promoter, Promoter–enhancer and Contained). Significance was assessed using a two-sided t-test and P values were adjusted for multiple hypothesis testing using the Bonferroni approach. We performed three versions of this analysis: (i) using all loops tested for variability (n = 85,294) and all histone peaks (= 288,711) (PAll vs Contained = 6.5 × 10−212, PAll vs Promoter = 2.1 × 10−260, PAll vs Promoter-enhancer = 1.9 × 10−268, PPromoter vs Promoter-enhancer = 1.0), (ii) using all loops tested for variability and histone peaks with variable activity. Variability in H3K27ac was assessed using the procedure outlined in ‘Identifying variable loops’. We set a threshold of FDR < 1{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} to define the set of variable histone peaks (PAll vs Contained = 6.5 × 10−212, PAll vs Promoter = 2.1 × 10−260, PAll vs Promoter-enhancer = 0, PPromoter vs Promoter-enhancer = 4.9 × 10−20). (iii) using all variable loops (FDR < 10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}) and all histone peak with variability activity (PAll vs Contained = 2.2 × 10−119, PAll vs Promoter = 1.9 × 10−141, PAll vs Promoter-enhancer = 3.4 × 10−13, PPromoter vs Promoter-enhancer = 2.7 × 10−26). Taken together, these analysis indicate a stronger link between loop interaction frequency and gene expression when the loop is making direct contact with the gene’s promoter or when linking and enhancer to the promoter. Subsetting either loops or enhancers based on variability does not appear to improve the results.

Finally, we analysed if there was an enrichment for positive loop-gene correlation coefficients for the four maps described above. We tabulated the number of positive and negative coefficients for actual and randomized loop-gene pairs and assessed significance using Fisher’s exact test.

Identifying group-specific loops

All analysis was performed on the set of loops tested for variability (n = 85,294). For each group (blood, embryonic, and solid-tissue-derived), we identified a set of loops that were present only in their member cell lines (Groupquery) and that did not differ between the other two groups (Groupother1, Groupother2) as follows: 1. Compute three sets of t-statistics based on the following three pairwise comparisons: interaction frequencies (normalized interaction frequency) for all cell lines in Groupquery versus Groupother1 (t1), interaction frequencies for all cell lines in Groupquery versus Groupother2 (t2), and interaction frequencies for all cell lines in Groupother1 versus Groupother2 (t3). 2. Rank order each vector of t-statistics in descending order. 3. Define three sets of loops (T1, T2, T3) such that their respective t-statistics are in the top 10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of t1, t2, and t3, respectively. 4. Define the final set of group-specific loops as ((T_1cap T_2)-T_3).

In this way, we specifically identified loops with a high interaction frequency in the group of interest compared to the other two groups and no difference between the other two groups.

Annotating different DUEs

We used bioconductor´s package DEXSeq77 to identify DUEs. In brief, we flattened the Gencode (release 25; lifted to GRCh37 coordinates) file with parameters ‘-r no’ and used a modified script to extract counts with subRead (parameters -f -O -s 2 -p -T 40) as described in the vignette78. We classified the RNA-seq libraries either according to the three clusters identified with the PCA as described above, or by cell line (n = 22). Next we normalized for library size and dispersion, tested for DUEs, and estimated the exon log2-fold changes between (a) solid vs blood and stem cell-like vs blood, or (b) by cell type vs the median exon abundance. In this way, we identified (a) 95,137 and (b) 39,832 DUEs (FDR = 10{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48}).

Defining intragenic loops

As a way to identify intragenic loops that go from promoters to gene bodies, we followed the methods described previously51. Starting from the Gencode annotation (release 25; lifted to GRCh37 coordinates), we only kept protein-coding genes with at least one middle exon. We also removed all exons that overlapped previously defined CAGE peaks79. Based on visual inspection, we defined the promoter window as ±1 kb from the TSS and the upstream window as −5 kb from the 5′ exon boundary. We then identified intragenic loops as those loops for which one anchor fell in the promoter and the second in the upstream window of the same gene. In this way, we identified 1,372 loops within 1,074 genes. From this set, we identified exon–loop pairs (real pairs) by associating an exon with an anchor of an intragenic loop within 5 kb of their 5′ boundaries.

Correlation of exon and loop anchors

We kept unique exon–loop pairs and correlated the normalized counts of exon and anchor strength across the 22 cell lines. As a control, we permuted all exons 100 times, creating new exon–loop pairs. We also accounted for gene expression by correlating all other exons within the same ‘looping’ gene and removed any exons within 20 kb of the centre of the anchor (all pairs). Then we performed a Pearson correlation for all complete observations and depicted only the DUEs across the 22 cell lines. For the scatterplot, we used the three-group classification specified above and we tested for correlation between real pairs and all pairs of the DUEs.

TF enrichment analysis

We obtained the genomic coordinates for motif matches for 598 TFs from a previously published study53. For each TF, we tabulated the following four numbers: (i) the number of group-specific loop-ends overlapping a motif location, (ii) the number of group-specific loop-ends not overlapping a motif location, (iii) the number of non group-specific loop-ends overlapping a motif location, and (iv) the number of non group-specific loop-ends not overlapping a motif location. We assessed the significance of enrichment using a two-sided Fisher’s exact test. In cases in which any of values (1)–(4) were less than 5, we excluded this TF from further analysis. P values were corrected for multiple hypothesis testing using the Benjamini–Hochberg procedure. We repeated the analysis using different rank thresholds used to define the set of group-specific loops. Using a 5{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} threshold, we observed high correlation of fold-enrichment values (rBlood = 0.89, rEmbryonic = 0.88). Moreover, out of the 120 significant TF enrichments for the blood-specific loops (FDR < 0.1), 74 were significant at this new threshold (3.74 fold-enrichment, P = 5.5 × 10−41 via hypergeometric test). For the 89 significant TF enrichment (FDR < 0.1) from embryonic-specific loops, 39 were significant at this new threshold (5.6 fold-enrichment, P = 1.1 × 10−28 via hypergeometric test). Using a 20{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} threshold, we again observed high correlation of fold-enrichment values (rBlood = 0.83, rEmbryonic = 0.86). Moreover, out of the 120 significant TF enrichments (FDR < 0.1) for blood-specific loops, 95 were significant at this new threshold (2.72 fold-enrichment, P = 1.85 × 10−38 via hypergeometric test). For the 89 significant TF enrichments (FDR < 0.1) for embryonic-specific loops, 75 were significant at this new threshold (3.06 fold-enrichment, P = 1.5 × 10−34 via hypergeometric test).

Transcription factor footprinting in ATAC–seq data

ATAC–seq data were processed (Methods) for signal tracks. Motifs for each TF were intersected with the loop annotations and ATAC–seq data were averaged across all motif instances using a custom Python script. Averaged signal was compared between blood-specific, embryonic-specific, and all loops, and the relevant ratios were computed and plotted for a given TF.

GO biological process enrichment of group-specific loops

Using the procedure outlined in ‘Identifying group-specific loops’ above, we defined 3,384 blood-specific loops, 2,894 embryonic-specific loops, and 2,215 ‘misc’-specific loops. For each loop, we defined its ‘coordinates’ as the midpoint of loop end 1 to the midpoint of loop end 2. All three sets of loop-coordinates (blood, embryonic, and misc.) were examined for GO enrichment using the GREAT66 web tool with default options (version 3.0) (Supplementary Table 6).

GWAS analysis

To test for enrichment of GWAS variants in our peak sets, we used all GWAS data sets in the GRASP database61 (n = 178). The GWAS SNPs were pruned to contain no variants in linkage disequilibrium by keeping the most significant P value where there were multiple linked variants for the same trait. We only kept GWAS with at least 1,000 SNPs after pruning in the analysis for sufficient quality to calculate an enrichment (n = 86). The set of pruned SNPs was then expanded to all linked variants with European r2 ≥ 0.8 for all further analysis.

We performed a rank-based enrichment of GWAS variants in each set of group-specific loops. We segmented each GWAS study into bins that represented decreasing tiers of significance. We set a minimum bin size of 50 and filled the first bin with the 50 most significantly associated variants for each study. We then filled the next bins with 2 × 50, 4 × 50 and 8 × 50 variants and then segmented the remaining variants into bins at the four quartiles of the remaining P value distribution. We used the pruned set of SNPs to set the bin thresholds. We then computed the rank fold change enrichment of peaks across the segmented GWAS80. For each bin we computed the fraction of GWAS variants that were less than or equal to the bin’s P value threshold that overlapped the loop regions. We calculated the fold change enrichment by dividing this fraction by the fraction of all GWAS variants of any significance level that overlapped our regions. Baseline enrichment is 1, which indicates no change from the base rate of overlap of all significant and non-significant variants in the study. An enrichment less than 1 means the most significant variants are depleted relative to the baseline and any value greater than 1 indicates that significant variants are enriched. To compute the significance of these enrichments, we permuted the P value associated with each GWAS SNP in the study 200 times and re-computed the enrichment relative to baseline. The empirical P value indicates the number of permuted studies for which the true study has a greater enrichment for the most significant bin of GWAS hits.

To compare the enrichment of each given GWAS study between sets of regions, we computed the total number of pruned genome-wide significant (P < 10 × 10−8) SNPs that overlapped each set of peaks and the total number that did not. An overlap was counted if any SNP in LD with the pruned SNP overlapped the regions of interest. This is important as we do not know which is the causal SNP. We then used Fisher’s exact test to statistically compare the rate of overlap between the two studies and to determine whether a set of regions was statistically enriched relative to another (Supplementary Table 7).

LD score regression

Partitioned LD score regression (LDSC) is a method to determine whether there is an enrichment of GWAS effect sizes in a given portion of the genome62. We used LDSC to test whether our loop anchors, called loops, and DNase peaks within called loops that changed between cell types were associated with GWAS signal of complex traits. Using publicly available summary statistics of GWAS for complex traits63, we ran LDSC with the standard 1000G Phase III derived LD scores and weights, correcting for the baseline annotations (which contain the union of H3K27ac marked regions in the genome, H3K4me3 marked regions, and so on62 and the full set of Rad21-bound looped regions genome-wide. Regression coefficients were estimated using the overlap-annot option to partition effects across overlapping regions62 and with frequency files derived from 1000G Phase III Europeans and filtered for SNPs with minor allele counts of at least five. The following command was used: ldsc.py–h2< input summary statistics>–ref-ld-chr <1000G_EUR_Phase3_baseline>,<tested anchor regions>,<all rad21 peaks>–w-ld-chr < weights_hm3_no_hla>–overlap-annot–out < output estimates>–frqfile-chr <1000G.mac5eur>. Results were parsed for the enrichment of the tested anchor region and the reported statistics are taken directly from the command output.

Correction for super-enhancers and cell type effects in LDSC

Super-enhancers are associated with increased chromatin looping and also with GWAS enrichment, so we wanted to test whether our signal was due to a super-enhancer signal. As such, we excluded called super-enhancers from any cell type from the tested anchor and loop annotations and re-ran the enrichment. In addition, after filtering out anchors from any loops that overlapped with super-enhancers we still see enrichment for the same traits (Extended Data Fig. 7, Supplementary Table 8). To assess whether the signal we observed might be just attributable to active chromatin in the cell types of interest, we added in all ten cell-type group annotations as covariates to the regression, along with the Roadmap control signal for per-mark accounting as previously described67 (Extended Data Fig. 7, Supplementary Table 8). The resulting regression was: ldsc.py–h2 input.path–ref-ld-chr <1000G_EUR_Phase3_baseline>,<tested anchor regions>,<all rad21 peaks>,<roadmap control>,<cell_type_group 1>,<cell_type_group 2>,<cell_type_group 3>,<cell_type_group 4>,<cell_type_group 5>,<cell_type_group 6>,<cell_type_group 7>,<cell_type_group 8>,<cell_type_group 9>,<cell_type_group 10>–w-ld-chr < weights_hm3_no_hla>–overlap-annot–out < output estimates>–frqfile-chr <1000G.mac5eur>.

Reporting summary

Further information on research design is available in the Nature Research Reporting Summary linked to this paper.

Five job opportunities for emerging landscape designers and urban planners | News

In previous months we’ve highlighted employment possibilities for current graduates and design industry experts with 1-3 decades of encounter. This 7 days we emphasize 5 work for corporations that focus in landscape architecture and urban setting up. 

Be positive to test out our editorial certain to new graduates and designers searching to kick commence their careers on Archinect Work opportunities.

Living Habitats LLC seeks an Entry Amount Landscape Designer
Spot: Chicago, IL

Specifics: “Residing Habitats is at present trying to get an entry-level landscape designer to join our office in Chicago. Perfect candidates will show superb interaction techniques and style and design capabilities – each digital and hand drawn and the skill to do the job both independently and in a collaborative quickly-paced atmosphere. Productive candidates are anticipated to have complex proficiency in AutoCAD, Microsoft Business, G-Suite, and Adobe Innovative Suite workflows. Practical experience in 3D modeling packages such as SketchUp, Rhino and Revit are most popular. Ideal candidates will have up to 2 years of qualified landscape architecture experience and a experienced degree in landscape architecture.” Study extra listed here.

Fairfax Victory Village. Impression courtesy of Van Meter Williams Pollack.

Van Meter Williams Pollack seeks a Junior Urban Designer
Location: San Francisco, CA

Particulars: “The Junior Urban Designer will help in all features of the city layout perform at VMWP which include graphic output, presentations, promoting and output of files. Powerful graphic techniques and competency in the subsequent application programs are inspired: Sketch Up, Photoshop, Illustrator, InDesign, and Revit. Hand-drawing techniques are a moreover. Candidates should work effectively in a group and individually in an interactive studio surroundings. A master’s degree in architecture, landscape architecture, planning, or urban structure is chosen.” Read through additional here.

ODA-Architecture seeks a Junior Landscape Designer | Architect
Locale: New York, NY

Specifics: “The excellent candidate will have a diploma in landscape architecture with 2-3 years of verified do the job expertise. Primary tasks will incorporate collaborating with project teams to present technical and architectural abilities on varied assignments at all phases from schematic design and style through building administration. Personal need to be remarkably artistic and efficient in household web site planning and landscape structure.” Read far more right here.

Graphic courtesy of DTJ Style.

DTJ Style and design seeks an Entry Stage Planner
Spot: Chicago, IL

Aspects: “Entry Stage Landscape Architect: -3 a long time Encounter: We are searching for a motivated team player who brings a enthusiasm for creative imagination, storytelling, artistry, and positive strength to our design and style agency.  This particular person will operate amongst our artistic design and style groups on a myriad of projects and will be liable for several design and style jobs and production documentation.  Project sorts and scales encompass a vast selection of possibilities, together with Grasp Organizing, Neighborhood Layout and Internet site-Certain answers for household, resort and combined-use environments on a handful of acres to a number of thousand acres.  Possibilities for sustained vocation growth, and improvement are readily available for enthusiastic and proficient persons.” Browse extra listed here.

Gwynne Pugh Urban Studio, Inc. seeks a Junior Designer
Locale: Culver Metropolis, CA

Particulars: “Gwynne Pugh City Studio seeks an expert, self-enthusiastic Junior Designer to function in our Culver Metropolis workplace. Gwynne Pugh is a planet-renowned architect and engineer. Gwynne Pugh Urban Studio prides itself on its adaptable range of capabilities and talents together with developing cutting edge architecture ideal to its context, operating with communities and creating a solid city style presence. The firm is dedicated to checking out and enhancing the urban knowledge as a result of architecture, style and design and setting up. Fantastic graphic competencies with proficiency in Rhino modeling and Rendering applying Vray. Must have a expert diploma in Architecture and a minimum 3-5  yrs of whole-time employment in an architecture place of work.” Go through a lot more below. 

If your CV or resume is in need of an update or you have to have strategies to increase your interviewing skills resume check our Archinect Tips portion. Committed to offering architects at all stages in their professions searching to sharpen their individual and professional improvement expertise.

If you’re an employer searching to hire top rated expertise or a design and style experienced seeking for a work be certain to examine out new listings daily.  Remain up to date with the hottest work listing by following Archinect Jobs’ FacebookTwitter, and Instagram feeds.

In the Foothills of the Blue Ridge Mountains, a Visionary Landscape Architect Creates His Own Eden

Landscape architect Thomas Woltz has a enthusiasm for the clarity and proportion of Italian Renaissance architecture. That Woltz life in a gabled Queen Anne Victorian comes as an ironic shock, even to him. “Palladio did not use spindles and gingerbread,” he notes, dryly. But his residence, jointly with the backyard he has established there around the earlier two a long time, is a unified study in satisfying contrasts. The impact is at as soon as disciplined and spontaneous, respectful and irreverent. A lot like the person himself.

Woltz purchased the dwelling, in a little Virginia city in the foothills of the Blue Ridge Mountains, in 1999. His restoration honors what he calls the “historic intent” of the framework. “I made a decision to respect the Victorian volumes,” he notes. “I was not likely to take away walls to produce an open up prepare.” For two a long time, the place was a construction site as it acquired a copper roof, a mansard porch roof, and plumbing and electrical—all new.

in a living is a fireplace with carved wood mantel and an ornate round mirror, a grandfather clock, two armchairs with burgundy upholstery, a cocktail table with turned legs, a gray sofa, and a patterned rug
In the residing space, a Chippendale couch and 19th-century Danish chairs flank a hearth primary to the house. The grandfather clock is a family heirloom. The 18th-century mirror is from Naples the partitions are painted in Sea Haze by Benjamin Moore.

Jennifer Hughes

In the hands of a a lot less erudite and playful designer, such attentiveness to historical past may well produce a rigid monotony of fashion. But Woltz loves to devise temporal dialogues—not only between previous and present, but also amongst diverse pasts. As a young gentleman, he put in five decades working towards architecture and instructing in Venice. He lived around the Palazzo Fortuny, which he often frequented. “I was immersed in a earth of the Islamic affect of southern Spain, Italian textiles, home furniture, and Venetian Gothic architecture,” says Woltz, who began accumulating antique Fortuny materials and mild fixtures.

Some of the home furnishings in Woltz’s dwelling tells his very own family’s historical past. Amongst the items handed down about five generations is the grandfather clock in the residing space. It was commissioned by General William Lenoir of North Carolina, Woltz’s good-excellent-good-grandfather, to celebrate the close of the Innovative War. Other parts are garden-sale finds, witnesses to mysterious histories. Still other objects have been gathered on his frequent travels abroad and from pals who are artwork and antiques dealers, among the them Kenny Ball, David L’Eglise, and Simon L’Hopiteau.

a dining room with deep mauve walls, oval wood table and chairs, , a large three tiered pendant lamp, a standing chinoiserie decorated clock, an ornate wall mirror, windows with venetian blinds, wood floor
A Fortuny pendant hangs above a Sheraton mahogany desk in the dining home, where by the walls are painted in Benjamin Moore’s Damp Concrete.

Jennifer Hughes

It’s a tranquil refuge for a person who has made his name executing general public get the job done at a radically distinctive scale. Woltz is an indefatigable advocate for significant general public spaces and genuine landscapes. Each and every 12 months, extra than 30 million people today around the globe make use of parks made by Nelson Byrd Woltz Landscape Architects, the firm he joined in 1998 and has led as proprietor and principal because 2013.

Woltz is presently overseeing the generation of a new park in Houston that is nearly 2 times the sizing of New York’s Central Park. He always commences by exploring the history of a place—an method that has designed him a all-natural alternative for this kind of historic properties as Monticello, Winterthur, and Olana.

a library has a chippendale desk with small drawers and compartments, books and a lamp on top, a large framed photo above, a curved back chair in front, bookshelves, a leather chair and red patterned rug
In the library, a Chippendale desk—an heirloom from Woltz’s mother—holds books by some of his author friends, together with Andrea Wulf, Elizabeth Kostova, and Daniel Mendelsohn. The 19th-century chair is Swedish the photograph is by Olivier Valsecchi.

Jennifer Hughes

When he acquired his Queen Anne, it was surrounded by very little but a 50 percent-acre of grass and two trees. Going for walks by way of the backyard garden right now, you move via a collection of embracing outside “rooms” created by Woltz, who is his individual complete-time gardener. In front of the property, an 8-foot-tall round hedge built of European hornbeams and bordered by fritillaries, wild tulips, and ferns makes a private space in an urban front garden.

Just outside of is a small terrace encompassed by five hornbeams that, around the class of 20 yrs, Woltz has sheared into dwelling columns. Stone actions framed with viburnum and hydrangea lead into the colorful perennial backyard garden, in which bluestone-lined beds define a tidy sq. of garden, then descend to the bowling-green terrace, which kinds a lengthy cross axis. The ultimate back garden is laid out in an ellipse that spans the entire width of the home and is household to flowering shrubs indigenous to China, Japan, and Virginia.

a bedroom has muted green walls, a four poster bed with a rose motif quilt, a slant top desk in a nook, a trunk, a wall tapestry, a luggage stand with antique cases, a curtained window, and a patterned runner
The visitor bedroom’s antique 4-poster bed is dressed with a quilt sewn in 1835 by Woltz’s great-good-fantastic-grandmother. The room’s antiques incorporate an English Regency chair and a French Directoire daybed.

Jennifer Hughes

Satisfying as it is to the eye and the spirit, Woltz’s yard also operates hard. “It was never envisioned as a showplace,” he notes. Rather, it is a residing laboratory in which he tests the spacing of plants for hedges, fresh new combinations of bulbs and perennials, and different pruning solutions and regimes. Every single year he pulls some of the crops and distributes them to pals, producing room for new trials in plantings and layout.

For one of his birthdays, Woltz hosted attendees at a lengthy desk on the bowling inexperienced under a massive chandelier designed from a staghorn sumac that had presented up the ghost. He had wrapped the sumac in hundreds of sensitive LEDs and suspended it upside down above the meal desk from a strong sycamore. It was a attribute gesture for Woltz, reminding individuals gathered that nature, even in dying, illuminates lifetime.

summer 2022 cover elle decor

This tale initially appeared in the Summer 2022 concern of ELLE DECOR. SUBSCRIBE

This content material is produced and taken care of by a 3rd social gathering, and imported on to this web page to assistance consumers present their e mail addresses. You may possibly be equipped to discover a lot more data about this and equivalent articles at piano.io

The top 20 best landscape photographs

May 14, 2022

Landscape photography is about capturing the scenery of a place. It can be your way of showing how you see the world around you, and a way to capture the beauty of the landscape and environment, whether that’s local, or when travelling. This genre is all about light, location and composition. Thinking about what you include in your image can take your landscape photography from average to being spectacular. Below, in no particular order, we have rounded up some of the best landscape photographs we’ve seen as inspiration for your next landscape shoot…


The Best Landscape Photographs

Morning at Countryside by Mara Leite

Morning at Countryside - Mara Leite's winning image from the 2021 Landscape Photographer of the Year competition

Morning at Countryside – Mara Leite’s winning image from the 2021 Landscape Photographer of the Year competition

Mara Leite won the grand prize of Landscape Photographer of the Year 2021 with this beautiful photograph taken in Halnaker, West Sussex.

Mara told us, ‘Mill Lane is a famous footpath in Halnaker, West Sussex. I was looking for a different composition when I decided to turn the other way and saw this beautiful sight. I love the gate in the background and how the morning light is hitting the leaves and softly entering the tunnel.’

She shared her top tips for landscape photography here: Top tips for award-winning landscapes from LPOTY 2021 winners

@maralphoto


Woolland Woods by Chris Frost

Chris Frost won Landscape Photographer of the Year 2020 with his early-morning shot of Woolland Woods in Dorset, with mist rolling over wild garlic.

‘Taken in spring of 2018 in a wooded area close to Milborne St. Andrew in Dorset, this was the third visit to the area in a matter of days,’ he explains. ‘On the previous days, both devoid of morning mists, the light had been harsh and unappealing but the third day delivered stunning conditions with mist swirling through the trees. The low shooting position allowed more emphasis to be placed on the wild garlic and pathway.’

@chris_frost_photography


Breaking the Time by Aytek Çetin

Aytek Cetin - Breaking The Time, Cappadocia, Turkey; part of a portfolio that won him the International Landscape Photographer of the Year 2021 title. Image: Aytek Cetin, The 8th International Landscape Photographer of the Year competition

Aytek Cetin – Breaking The Time, Cappadocia, Turkey; part of a portfolio that won him the International Landscape Photographer of the Year 2021 title. Image: Aytek Cetin, The 8th International Landscape Photographer of the Year competition

Aytek Çetin won the overall International Landscape Photographer of the Year 2021 title with his portfolio containing this image Breaking The Time, Cappadocia, Turkey.

Aytek Çetin explained, ‘The 60-million-year-old story of fairy chimneys and the fact they have been home to different civilisations for tens of thousands of years, makes Cappadocia extremely mysterious for me. If you are lucky, you can visit there during hazy, atmospheric conditions with a soft light pushing through at sunrise or sunset.’

These soft light conditions were present when Çetin shot this cleverly framed study of the three fairy chimneys at sunrise on a winter morning. ‘The reason I chose this location is because I love the excitement inside me when the sun first hits the fairy chimneys and how it makes me feel like I’m living in the bronze age.’

Çetin was born and raised in Ankara, Turkey, and revealed, ‘I graduated from the department of sales management at university and, for many years, I worked as a store manager for luxury Italian clothing brands. I used to go to the sea for my limited holidays, but after repeating the same kind of trips for years, it was starting to lose its meaning for me. Then I decided to do something different, to dive deeply into nature. I started to explore remote, mountainous regions and experiencing the energy of the mightiest entities of nature, left me deeply impressed and awakened a love for nature within. An interest in photography followed as a result and has now turned into a passion!’

@aytekcetinphotography


Comet NeoWise Setting by Tanmay Sapkal

Tanmay Sapkal - Comet NeoWise Setting, won the Photograph of the Year in the International Landscape Photographer of the Year 2021 competition. Image: Tanmay Sapkal/The 8th International Landscape Photographer of the Year competition

Tanmay Sapkal – Comet NeoWise Setting, won the Photograph of the Year in the International Landscape Photographer of the Year 2021 competition. Image: Tanmay Sapkal/The 8th International Landscape Photographer of the Year competition

Tanmay’s Sapkal’s image Comet NeoWise Setting won the 8th International Landscape Photograph of the Year, which is awarded for a single image at the International Landscape Photographer of the Year competition.

Sapkal is an amateur photographer from the USA, and his winning photograph was taken on Mt. Tamalpais, in Marin County, just north of San Francisco, USA.

Sapkal revealed to us how he shot the image, ‘It is quite a special place for photographers as it stands above the local landscape, which is engulfed in low coastal fog almost every summer evening. After shooting there tens of times over the last four years, I realised that I really liked the way fog looks when it is lit from underneath. I also realised that the comet would become visible in the north west sky, so I started planning this shot.’

He added, ‘It wasn’t possible to line up the comet exactly above the foreground I wanted, so I decided to take two separate exposures. It took a couple of visits to get just the right amount of fog on the hills to create the dreamy setting and then I waited patiently for some cars to drive by and create a blanket of light under the fog. After shooting for more than a few hours that night, my friend and I hurried back down to the car. Little did we know that parking on the mountain after sunset meant getting a parking ticket! But now, in my opinion, it’s the best $80 I have ever spent on parking! Ha ha!’

@theurbanvoyager


Lake Magadi by Jie Fisher

One of TPOTY 2021 'Landscapes & Adventure' portfolio winner Jie Fischer's images from Lake Magadi, Kenya

One of TPOTY 2021 ‘Landscapes & Adventure’ portfolio winner Jie Fischer’s images from Lake Magadi, Kenya. Nikon D850, 70-200mm lens, f/2.8, 1/2000sec, ISO 360. Image: Jie Fischer/www.tpoty.com

This photograph by Jie Fischer, is one of the images as part of the portfolio which won the Landscapes & Adventure category of Travel Photographer of the Year 2021 (TPOTY). The photographs in her portfolio were taken from a helicopter and show a colourful, almost abstract depicting flamingos over the remarkable coloured waters of Lake Magadi in Kenya.

She explained, ‘Lake Magadi is one of the inland lakes at the southernmost point of Kenya, belonging to the Rift Valley area of Kenya, formed by fault subsidence. During the dry season, it is 80{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} covered by sodium carbonate and is well known for its wading birds, including flamingos. In the dry season, there will be salt deposits around the lake, forming colourful patterns, depending on wind and wave. Large numbers of flamingos are often seen here.’

@jiefischerphotographer


Haines, Alaska by Pally Learmond

Pally Learmond won the 'Landscapes & Adventure: Best Single Image' category of TPOTY 2021 with this shot of a single skier in Alaska

Pally Learmond won the ‘Landscapes & Adventure: Best Single Image’ category of TPOTY 2021 with this shot of a single skier in Alaska. Nikon D4, 400mm lens with 2.8 tele converter, f8, 1/2000sec, ISO 200. Image: Pally Learmond/www.tpoty.com

Pally Learmond won the ‘Landscapes & Adventure: Best Single Image’ category of TPOTY 2021 with this shot of a single skier in Haines, Alaska, USA.

He revealed, ‘Due to the close proximity of the Pacific Ocean, snow sticks to the mountains of southeast Alaska like nowhere else on earth. This creates a phenomenon called “spines” which form on top of the normally steep and rocky mountain faces. This provides professional free-ride skiers with a playground like no other. In this photo, Austrian professional free-skier Fabian Lentsch lets it all go on a mountain face called “Dirty Needle”.’

@pallylearmond


It’s a Long Road by Daniel Newton

Daniel won Round 4, Landscape, with this minimalist shot

Daniel Newton won our Landscapes round of the Amateur Photographer of the Year 2021 competition. This was a unanimously recognised and well-received image, achieving placings and commendations from nine of the ten judges. A classic, bucolic landscape scene it most certainly is not, but that’s what makes it stand out. There’s an odd balance of bleakness and anticipation here.

Bleak, of course, thanks to the desolate sand dunes that flank the empty road, while the anticipation comes from the sense that the viewer is heading somewhere. We can’t help but be curious as to what might exist beyond the horizon.

The interesting processing adds to the overall effect. By desaturating and toning the image in the way he has, Daniel has enhanced the sense of other-worldliness.

Daniel also came second in the overall APOY competition and he shared his inspirations and tips here: APOY 2021 winners share their inspiration and tips ahead of 2022 competition

Amateur Photographer of the Year 2022 is now open, enter here.

@dan.newtons


Gliding above the Gold by Dave Smith

Dave Smith came third in our Landscapes round of the Amateur Photographer of the Year 2021 competition with his image captured above Lake Annecy in the south of France… and what a shot! This photograph transports the viewer right into the scene, making us feel as if we are on top of a mountain looking down upon the intrepid paragliders as they float over a mist-covered Lake Annecy.

Dave did well to compose so that the paragliders stand out against the softness of the lower part of the frame. Any higher, and they would have been lost against the shadows. He’s also adhered to the rule of thirds nicely, which works well here. Overall, an atmospheric and evocative capture.

@davewsphotography


Highway to the Stars by Jack Giam

Jack Giam from Australia won our Landscapes round of Young Amateur Photographer of the Year 2021.

The contrast between the bright orange of the traffic trails and the navy of the sky and water is what immediately catches the eye here. Jack has composed his shot very nicely, with the line of the road starting in the bottom right corner, then curving round and out of sight, leaving the viewer wondering where it leads.

In the right kind of daylight, this would have been a pleasing enough image, but taking the initiative to shoot it at night is what elevates it, and makes it a worthy winner.

@jackgiam

Enter Young Amateur Photographer of the Year 2022 here!


Bare Land by Lorenzo Poli

Bare Land. An uninhabitable volcanic desert in the Icelandic Highlands. The climatic conditions here are so harsh that, for the majority of the year, life doesn’t thrive. © Lorenzo Poli, Italy, Finalist, Professional, Landscape, 2022 Sony World Photography Awards

Bare Land. An uninhabitable volcanic desert in the Icelandic Highlands. The climatic conditions here are so harsh that, for the majority of the year, life doesn’t thrive. © Lorenzo Poli, Italy, Finalist, Professional, Landscape, 2022 Sony World Photography Awards

The ‘Life on Earth’ series by Lorenzo Poli, which won the Professional, Landscape category at 2022 Sony World Photography Awards, delves into the ethereal magic of nature and the mysterious beauty of an untamed world, depicted through a diverse set of landscapes. This photograph was taken at an uninhabitable volcanic desert in the Icelandic Highlands. The climatic conditions here are so harsh that, for the majority of the year, life doesn’t thrive.

Lorenzo Poli said, ‘Science and religions may all fall short in explaining the incredible miracle of life which, through millennials of evolution, has transformed barren land into a living planet. There is an untamed world between sacred and magic, where the essence of life is safeguarded by silence, where the outer and the inner world coincide. This is what I am seeking to photograph.’

@lorenzopoli.photography


Landscape with Trees by Federico Testi

Landscape with trees, San Quirico d'orcia, Tuscany, Italy. © Federico Testi/World Nature Photography Awards 2021

Landscape with trees, San Quirico d’orcia, Tuscany, Italy. © Federico Testi/World Nature Photography Awards 2021

Testi’s minimalist photograph Landscape with Trees won a Gold award in the Nature Art category of World Nature Photography Awards 2021.

Federico Testi explained, ‘The natural creativity of San Quirico d’orcia, in Tuscany, Italy. Waves, shapes and tone created by light, in harmony with the universe.’


South Island Landscape, New Zealand by Sam Wilson

Landscape, South Island, New Zealand. © Sam Wilson/World Nature Photography Awards 2021

Landscape, South Island, New Zealand. © Sam Wilson/World Nature Photography Awards 2021

Sam Wilson won a Gold award in the Planet Earth’s Landscapes and Environments category of the World Nature Photography Awards 2021.

She revealed, ‘Travelling down random dirt roads can be so rewarding when you are greeted with scenes like this. Taken on South Island, New Zealand.’

@samwilson_photo


Solar Graphic by Andrius Repšys

In 2021, Lithuania once again experienced a winter of heavy snowfalls - a result of the climate crisis and global warming. Depicted in these photographs are sustainable energy sources such as dams, wind turbines and solar batteries - the very things we need in order to slow down the occurrences of climate disasters. Two of the three main elements of Solar Graphics – seasonality and sustainable energy – organically and purposefully complement each other. Winter’s monochromatic palette helps reveal the graphic elements found in the white snow. As the land is disrupted by dark lines new images appear – a mouth full of dazzling white teeth or a robot with a surprised look on its face. The high vantage point reduces the landscape to abstraction allowing the viewer to find new meanings and interpretations in the photograph. © Andrius Repšys, Lithuania, Finalist, Professional, Landscape, 2022 Sony World Photography Awards

© Andrius Repšys, Lithuania, Finalist, Professional, Landscape, 2022 Sony World Photography Awards

Taken during a winter of unseasonably heavy snowfall caused by climate change, ‘Solar Graphic’ by Andrius Repšys (Lithuania) captures sustainable energy sources such as dams, wind turbines and solar batteries from above, reducing them to graphic abstractions.

In 2021, Lithuania once again experienced a winter of heavy snowfalls – a result of the climate crisis and global warming. Depicted in these photographs are sustainable energy sources such as dams, wind turbines and solar batteries – the very things we need in order to slow down the occurrences of climate disasters. Two of the three main elements of Solar Graphics – seasonality and sustainable energy – organically and purposefully complement each other.

Winter’s monochromatic palette helps reveal the graphic elements found in the white snow. As the land is disrupted by dark lines new images appear – a mouth full of dazzling white teeth or a robot with a surprised look on its face. The high vantage point reduces the landscape to abstraction allowing the viewer to find new meanings and interpretations in the photograph.

Repšys’ was a finalist in the professional category of Sony World Photography Awards 2022.

@andrius.repsys


Orchid by Zhu Jianxin

Orchid, taken on a DJI Mavic 2 Pro in Xinjiang, China. 1/240sec at f/6, ISO 100. Image: Zhu Jianxin/Skypixel

Orchid, taken on a DJI Mavic 2 Pro in Xinjiang, China. 1/240sec at f/6, ISO 100. Image: Zhu Jianxin/Skypixel

The Grand Prize winner in the Photo Category of the Skypixel 7th Anniversary Aerial Photo & Video Contest, was shot by Zhu Jianxin on a DJI Mavic 2 Pro.

The image, Orchid, shows an otherworldly sight of a frozen lake after a heavy snow fell in the Taklamakan Desert, China. With a simple change in perspective, several cracks on a frozen lake magically came together to form something akin to a portrait of an elegant orchid.

Jianxin explained, ‘Photography as an art form always comes from life. It is born from nature. I am amazed by how a drone changes my perspective and helps me capture the beauty of our world.’


Perfect Chaos by Sara Zanini

Perfect Chaos, shot on a DJI Mavic 2 Pro. Image: Sara Zanini/Skypixel

Perfect Chaos, shot on a DJI Mavic 2 Pro. Image: Sara Zanini/Skypixel

Sara Zanini’s photograph taken over the town of Gangi in Sicily was shot on a DJI Mavic 2 Pro and received a First prize in the Skypixel Aerial Photo Contest. This photograph shows a fantastic juxtaposition between the traditional urban town against the natural mountainous landscape.

@sarazaniniiiii


Room 504 by Charlotte Gibb

View of Yosemite Falls from a hotel room. Taken with a very long focal length of 560mm
Canon EOS R, 100-400mm + 1.4x III extender, 1/80sec at f/16, ISO 400

Charlotte’s stamping ground is California. It’s home to a wide variety of landscapes, from rugged coastlines to ancient Redwood trees and deserts. This photograph was taken opposite Yosemite Falls from a hotel room window. Firstly, what an incredible view to have from your room! Everything within this photograph, from the light and the falls to the focus drawn into the single tree is dreamy.

Speaking of intimate landscapes she said, ‘Intimate landscapes are compositions that have been derived from the larger scene. It could be a photograph of a small section of beach, or a group of trees, or it could be a photograph of a section of an entire mountain… My heart-of-hearts is with the Sierra Nevada mountains and Yosemite National Park, though… There is tremendous diversity, and as much as I go back again and again, I always come away with a new composition. My most meaningful work has come from these places.’

She shares her tips for capturing your own intimate landscapes here.

@charlottegibb


Knowlton, Dorset by Jeremy Walker

This moody, monochrome scene by award winning professional landscape photographer and regular AP contributor Jeremy Walker brings a lot of drama and atmosphere with the dark intense sky looming over Knowlton church in Dorset.

When speaking about creating mono landscapes, Jeremy said choosing a ‘subject matter where the mood and drama help tell a story – ancient stone circles, Neolithic earthworks, and abandoned buildings like old churches can all look amazing with stormy skies and fleeting patches of light.’

This photograph is a perfect example!

Jeremy shares his tips for capturing moody monochrome landscapes like this here: How to capture moody monochrome landscapes

@jeremywalkerphotography

Jeremy will also be leading some of our upcoming Photography Holidays, in partnership with Zoom Photo Tours, see all information of our trips here.

Iceland Photo Adventure, September 2022

Glencoe in Autumn, 20 – 23 October 2022

Isle of Skye, 16-19 February 2023


Stepping Stones #2 by Lee Frost

Derwentwater, Lake District. Mist and fog are ideal for minimalist mono images. Canon EOS 5D Mk II, 24-70mm, 1/250sec @ f/8, ISO 400

Black and white images can be simpler, more dramatic, more evocative and more atmospheric than colour. The minimal black and white shot by Lee Frost feels a lot calmer than Walker’s suspenseful landscape above. Taken on a foggy morning by Grasmere, Lake District, this image however doesn’t lack in atmosphere.

Whether you feel calm and at peace, or a sense of eeriness, Frost’s image is successful compositionally, with the stepping stones leading us into the lake.

See his tips for black and white photography.

@leefrostphotography


The Far Hills by Rachael Talibart

The Far Hills, 2017. Canon EOS 5DS R, 24-70mm, 0.8sec at f/16, ISO 100

For someone who describes themselves as ‘a poor swimmer and a poorly sailor’ it seems incredible that award-winning coastal and seascape photographer Rachael Talibart chose the sea as her muse.

Her captivating coastal photography has been recognised with awards such as Black+White Photographer of the Year in 2018 and winning the Sunday Times Magazine’s Landscape Photographer of the Year in 2016.

Talibart has had three monographs of her work published – including Sirens and Tides and Tempests – and she runs her f11 photography workshops as well as leading photography tours for Ocean Capture.

Talibart was also featured as one of our 12 top UK woman photographers you must follow

How to take great coastal shots and seascapes this winter

@rachaeltalibart


 Sutton Park by Verity Milligan

Canon 5D Mk IV + 100-400mm

Taken in Sutton Park, Birmingham, Verity Milligan’s photograph was taken on a cold morning in late autumn/early winter.

When speaking of this photograph on Instagram, she said, ‘This is one of those examples of why I love using a telephoto for landscape imagery. The sky would have added little to this composition and distracted from the main event — that frozen little island.’

Milligan’s images have featured in several exhibitions and have been highly commended in major photography awards such as Outdoor Photographer of the Year, British Life Photographer of the Year and Scottish Landscape Photographer of the Year.

Image featured in: Pro tips for great landscape photography

Milligan was also featured as one of our 12 top UK woman photographers you must follow

@veritymilligan


Get more inspiration & tips

Feeling inspired? View our landscape photography tips and get shooting some spectacular shots!

If you are new to landscapes, check out our beginners guide to Landscape Photography.

Our Landscapes round of Amateur Photographer of the Year is now open, and closes for entries on Friday 20 May. See competition information and enter here.


Further reading:

The best landscape photography books for inspiration

How to photograph low light urban landscapes

See the top 20 best travel photographs!

 
Follow AP on Facebook, Twitter, Instagram, and YouTube.

SubscribeSubscribe

Deciphering the abstract of the Gozitan landscape

In British artist’s Jamie F’s terms, “artists are the archaeo­logists of the upcoming tense extracting this means from the quite edges of reality”. 

His exhibition of photographs at Arthall zooms into the geo­logy of Gozo, creating abstracted landscapes out of microcosmic features that instantly stand out as valleys, crevasses, outcroppings and lakes. 

We are inclined to walk on these habitats, not supplying a treatment about the elegance in the color, texture and meanderings of formations beneath our toes that took tens of millions of decades to consider condition. 

There is a feeling of fragile solidity in Jamie F’s operate, a monu­mental documentation of habitats amid the realm of fossilised limestone. This personal architecture of the land sings and resonates, inviting us to be close and personalized, while reimagining doable narratives and introducing far more legends to an island that flourishes in them. 

In these operates, a single imme­diate­ly notices, with the exception of mosses and lichens, the striking absence of flora and fauna. The only flow is that of puddles or rivulets of h2o in any other case, time stands however as geology compartmentalises it not in several hours and days but in centuries and millennia. These natural configurations have withstood the test of time they have seasoned earthquakes and upheavals that transpired at a time when no proto human had as but attempted to colonise the island. The sun has been putting blindingly and the rains have been eroding and consuming relentlessly into the physical levels considering the fact that time immemorial.

American photographer Brett Weston (1911-1993), son of one particular of the giants of world images, Edward Weston (1886-1958), seemed at finite areas, geological and organic, with a viewpoint of flattening airplane and layering room. By doing away with context and circumstance, the American photographer diluted the representational and opened the gates to abstraction. 

Jamie F’s lens do the job similarly invites us to recontextualise solidity and fluidity, in fact, fact alone. Character mirrors alone via its have flux: the condition of spiral galaxies can also be encountered in seashells, as the macrocosm displays the microcosm, just like a couple square metres of weathered limestone, indentations and all, shares comparable dynamics suitable to the complete expanse of a sprawling landscape. Albert Einstein tasked us to search deep into mother nature to recognize every­thing far better. 

“Jamie F’s lens do the job invites us to recontextualise solidity and fluidity, in point, truth itself”

In some circumstances, Jamie F integrates his silhouette into the composition, thus grounding the individual get the job done to a environment exactly where a sunlight, or a sturdy incident resource of light-weight, shines. This adds narrative value, evoking Jasper Johns’s cycle of four performs thematically joined to the 4 seasons. Jamie F’s silhouette is in the act of snapping and freezing the second in time when the camera shutter clicks. The humanoid shadow, two arms upheld in a photographer’s stance, can take on the function of the narrator, the storyteller, who is section and parcel of the artistic course of action and who is the protagonist-creator. 

Johns imprinted the identical grey silhouette in the course of the series, symbolizing himself. Seemingly unsteady and a little angled to the left, the motif is recurring twice in Drop even though, in Wintertime, it threatens dissolution and evanescence. Just one thinks of superior summer in the properly-described picture of Jamie F’s human body on to the Gozitan bed of honeyed stone.

In accordance to the exhibition’s mission assertion: “This exhibition is a celebration of the fundamental secret that is the soul of the island of Gozo.” 

The standard results in being the amazing these works are documentations of the artist’s walking journeys, of accessing distant places that have largely laid unperturbed by human activity. 

Landscape and abstraction do not work in opposition but relate to and enhance each other, as a result reinventing Gozo by means of the flourish of option views originating from its incredibly innards, from its fundamentals, from its inherent geology and stratigraphy. 

He celebrates its tranquillity amid the ever-modifying humours of the overall body of water, the Mediterranean Sea, surrounding it and that threatens to overwhelm it. 

Gozo, through the particulars of its coves and its seashores, by means of its legends and tales, permits the artist to accessibility the “deep-seated beauty inherent in the world”.

Abstract Gozo, curated by Marta Obiols Fornell and hosted by Arthall of 8, Triq Agius de Soldanis, Victoria, is on till June 12. Talk to the event’s Facebook page for opening several hours.

Impartial journalism costs revenue. Aid Periods of Malta for the value of a espresso.

Help Us

Art, Design, and Landscape Are Perfectly Aligned in This Striking Shou Sugi Ban Residence

The expression “indoor-outdoor” has turn out to be a little bit overused in architecture, but for this weekend property on Very long Island with expansive h2o views, it’s unquestionably on goal. The couple who commissioned the challenge needed a household that was open to the outdoors yet also authorized them to exhibit their intensive collection of contemporary art. From an spectacular crew that included the architect Blaze Makoid, the inside designer Joe Nahem, and the landscape architect Edmund Hollander, they acquired both equally, and then some.

Makoid’s structure for the two-tale household was impressed in part by the solid-concrete properties conceived by Tadao Ando for the Japanese “art island” of Naoshima. The clientele, who experienced been there, shared Makoid’s enthusiasm. Makoid also employed Japanese shou sugi ban, or charred wooden, for the beams and exterior siding. The house’s website drops down a full tale, and a reduced level contains a garage, a gymnasium, and laundry and mechanical rooms. To attain the glass entry corridor from the garage, you stroll up a flight of staggered limestone techniques, flanked by corten-steel planters whole of greenery. “The topography drove a whole lot of the style and design,” Makoid states. “You’re inside of-outside the entire time.”

a living room with a glass wall looks out onto a deck and pool and has a sofa with a thick wood frame and light nubby fabric, upholstered armchairs, a round white glass cocktail table, a chaise, a fireplace, and large artworks
The dwelling room of a waterfront dwelling on Very long Island, New York, built by architect Blaze Makoid with interiors by Joe Nahem and landscape by Edmund Hollander. The customized couch has a Chapas handwoven fabric, with a wood wall by Caleb Woodard. The cocktail desk is by Casey McCafferty, the vintage chaise (centre) is by George Nakashima, and the swivel Niemeyer chairs are from Insidherland. The driftwood chandelier is by Hinterland Style, the rug by Dana Barnes Studio, and the artwork by Carrie Moyer.

Peter Murdock

A neon sculpture by Tracey Emin hangs close to the entrance, its boldness contrasting with Hollander’s landscaping featuring a comfortable mix of grasses. Inside of, the entry corridor is anchored by a putting copper-and-wooden console by Wendell Castle. Just beyond is the large-ceilinged dwelling area, with its total-top home windows and blackened-metal fireplace, over which hangs a significant purple portray by Carrie Moyer.

Nahem placed a curved couch within a wood “wall” designed by Caleb Woodard to give a perception of shelter. He credits the consumers for trusting him “in trying to find out craftspeople from all around the globe,” some of whom he found on Instagram—like Casey McCafferty, who designed the cocktail desk, and Hinterland Layout, who created the driftwood hanging gentle. A George Nakashima chaise delivers a location to admire the perspective more than the pool towards the water, and a handmade rug by Dana Barnes Studio provides a abundant texture. The room’s palette is neutral, like that of the architecture, which Makoid calls “a fantastic supporting actor.”

a kitchen has a glass wall overlooking a pool, steel blue floor cabinets with a terrazzo counter across from dark wood cabinets with a steel counter with shelves above, a round table with different colored woven fabric chairs
A poolside vista is the backdrop to the kitchen. Tailor made cupboards are by Bulthaup, the Rogan Gregory pendant is from R & Firm, vintage Harry Bertoia chairs have been redesigned by Clément Brazille, and the Aldo Bakker table is from Suite NY.

Peter Murdock

The living place opens to the dining area, where—between a yellow portray by Sue Williams and a blue-and-eco-friendly interior by Mickalene Thomas—an oak desk by Gal Gaon surrounded by vintage embroidered chairs sits beneath handblown hanging lights by Jeff Zimmerman and James Mongrain. A louvered wall screens a staircase that qualified prospects to the second-ground gallery—a sitting down room with tons of art—and the most important bedroom. Makoid intended the gallery as a black-granite-clad, rectangular tube that projects from the entrance and back again of the residence its underside types the dining room’s ceiling and a canopy for the entrance doorway. Through the residence, personalized shades regulate the light.

“The topography drove a whole lot of the design. You’re within-exterior the whole time.”

Outside of the dining place, the kitchen area has Nahem-developed stainless-steel shelves, a terrazzo-clad island, and a brilliant blue artwork by Yayoi Kusama. An adjacent included outdoor eating region is outfitted with a grill and a wall with a Tv that can show video clip art. This side of the developing, which faces east, appears to be like toward the h2o through a display of existing oak trees that Hollander was eager to continue to keep. “The sunlight rises by these trees,” he states, “and shadows dance on the garden.” Around the home, Hollander set Madras grey limestone actions into the grass.

The roomy 1st ground also incorporates a den, an business office, and 3 guest rooms. The blackened-plaster-lined powder place is further embellished by a wall panel inset with mom-of-pearl, silver leaf, lacquer, and resin by the artist Nancy Lorenz.

a bed with leather upholstered frame and a headboard and gray bedding looks out a glass wall, wooden nightstands and lamps, two chairs with gray fur cushions, a pouf, fireplace, and a large red artwork above it
Yayoi Kusama’s Infinity-Nets (Howan) presides in excess of the major bedroom. The customized mattress is in woven white leather-based and maple, the classic chairs are by Phillip Lloyd Powell, and a customized rug is by Vanessa Barragão.

Peter Murdock

On the second floor, the gallery is loaded with performs by artists like Carroll Dunham, Christina Quarles, and Jordan Casteel. The major bedroom’s neutral coloration scheme is damaged by a crimson portray by Kusama above the fire. Nahem designed the wall at the rear of the bed in polished stainless steel with an overlay of handwoven leather-based, via which you see reflections of the view. The key bathroom has a soaking tub built to appear as if it had developed out of the floor, with a circular skylight previously mentioned.

The entrepreneurs are, understandably, delighted. The husband was in particular amazed by Makoid, Nahem, and Hollander’s “team effort and hard work, which was great.” He says: “We definitely like the way the dwelling is laid out. It’s good for entertaining, and it’s nice to have the outdoors be aspect of the indoors.” 

summer 2022 cover  elle decor

This story initially appeared in the Summer 2022 situation of ELLE DECOR. SUBSCRIBE

This content material is established and maintained by a third get together, and imported onto this site to support consumers offer their e-mail addresses. You could be ready to obtain additional information and facts about this and very similar written content at piano.io