CARLOS ALBERTO RODRIGUEZ
Dunas en Huacachina, Ica Peru
Jun Kamei
Amphibio
AMPHIBIO is made out of a special porous hydrophobic material which supports underwater breathing by replenishing oxygen from the surrounding water and dissipating carbon dioxide which accumulate in the system, inspired from the gill of water diving insects. The material can be shaped in complex form using 3D printing. Patent pending.
YVES MARCHLAND AND ROMAIN MEFFRE
THE RUINS OF DETROIT
„Detroit, die Industriehauptstadt des 20. Jahrhunderts, hat die moderne Welt grundlegend geprägt. Die Logik, die die Stadt geschaffen hat, hat sie auch zerstört. Heutzutage sind die Ruinen der Stadt, anders als anderswo, keine isolierten Details in der städtischen Umgebung. Sie sind zu einem natürlichen Bestandteil der Landschaft geworden. Detroit präsentiert alle archetypischen Gebäude einer amerikanischen Stadt in einem Zustand der Mumifizierung. Seine prächtigen verfallenden Denkmäler sind nicht weniger als die Pyramiden von Ägypten, das Kolosseum von Rom oder die Akropolis in Athen Überreste des Untergangs eines großen Reiches. “ Yves Marchand & Romain Meffre
Marguerite Humeau
MIST
The Prayer
MIST envisions a world in which mass extinction has accelerated to a point of no return; where non-human beings have become spiritual, capable of self-transcendence and mystical experience, because they have no other choice. It is as if promethean punishment (the trauma of reason) were visited on them for humanity’s crimes in the pursuit of planetary mastery.”
VISIONDIVISION
the patient gardenter
sonja bäumel
crocheted membrane
Martin Messier
ECHO CHAMBER
Performance audiovisiva in più tableau, Echo Chamber si ispira a tecnologie che ci permettono di sondare all’interno del corpo, come gli ultrasuoni e l’agopuntura, generando una composizione sonora in cui predomina l’idea di risonanza. Nel creare un’interfaccia modulare di tre pannelli che consente molteplici manipolazioni, Messier ha determinato i confini delle possibilità per l’esecuzione di una coreografia di suoni e luci. Impugna lunghi aghi come se fossero note di uno strumento, perforando una piastra audio-reattiva che innesca sequenze sonore.
TOMAS SARACENO
توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
SPLITTERWERK
bio intelligence quotient house
Dubbed the Bio Intelligent Quotient (BIQ) House, the approximately €5 million building was designed by Splitterwerk Architects and funded by the Internationale Bauausstellung (IBA), a long-running exhibition series showcasing cutting edge techniques and architectural concepts, for this year’s International Building Exhibition – 2013.
A total of 129 algae culturing tanks are affixed to the East and West sides of the building via an automated external scaffolding structure that constantly turns the tanks towards the sun. The plant cultures are fed through an integrated tubing system, CO2 is pumped in as well. According to Arup’s Europe Research Leader, Jan Wurm, who collaborated with Splitterwerk on the project:The algae flourish and multiply in a regular cycle until they can be harvested. They are then separated from the rest of the algae and transferred as a thick pulp to the technical room of the BIQ. The little plants are then fermented in an external biogas plant, so that they can be used again to generate biogas. Algae are particularly well suited for this, as they produce up to five times as much biomass per hectare as terrestrial plants and contain many oils that can be used for energy.Not only do these tanks provide shade for every level of the building during the summer and biogas for heating during the winter, the facade itself collects excess heat not being used by the algae, like a solar thermal system. That heat can then either be used immediately or stored in 80-meter-deep, borine-filled borehole heat exchangers located under the structure. Total fossil fuels used in this process: zero.
FLORENT LAMOUROUX
Chronoplasticite du Crash
SEAN MCGINNIS
Шон МакГиннис
肖恩·麦金尼斯
The Webmaster
Des brins de couleur, tantôt rougeoyants tantôt fluorescents, s’entrelacent pour former d’étranges toiles. Ces sculptures sont installées à l’intérieur ou en extérieur, et changent selon l’angle de vue du spectateur. Elles interrogent le lieu qu’elles occupent tout autant que notre rapport à l’espace.
JOSEF SVOBODA
جوزيف سفوبودا
ЙОЗЕФА СВОБОДЫ
la traviata de verdi (Scenografia)
La technologie et la scénographie
Svoboda utilise les techniques de pointe en éclairage, en projection d’image et en mécanique de scène (scène cinétique) afin de s’affranchir des contraintes du lieu théâtral. La scène est pour Svoboda un instrument et un espace magique, lieu d’action de forces dramatiques, réelles, et non pas un espace illusionniste. La scénographie est une des disciplines de l’art théâtral, une composante de la mise en scène et un élément essentiel de la représentation. Elle doit donc d’être dynamique et se transformer dans le temps pour épouser l’action dramatique. La scénographie a un langage propre en tant que discipline à part entière. Svoboda apporte une contribution importante à ce langage par son travail sur la lumière et l’espace.
Lumière, matière et espace
Svoboda dit percevoir la lumière physiquement, et non pas simplement visuellement ; il trouve en elle l’inspiration pour son travail. Tout en reconnaissant son statut ” immatériel “, il la considère comme l’élément fondamental de la scénographie et la traite comme un matériau. D’abord formé en menuiserie, Svoboda affectionne particulièrement les matières brutes, notamment le bois. L’architecture représente pour lui, et ce dès son jeune âge, la somme des connaissances humaines. Formé en architecture d’intérieur, il s’intéresse à l’organisation de l’espace, à la rencontre scénique de l’architecture et du décor. Il privilégie les formes simples : la sphère, le cube et l’escalier. Svoboda croit que ” la mise en scène à l’italienne, bien qu’elle ne corresponde plus aux exigences des méthodes scénographiques actuelles, reste toujours la meilleure “.
Erin O’Keefe
Mirror stick study
“I am a visual artist and an architect, and my work is informed by both of these disciplines. My background in architecture is the underpinning for my art practice, providing my first sustained exposure to the issues and questions that I currently contend with in my photographs. The questions that I ask through my work are about the nature of spatial perception, and the tools that I use are rooted in the abstract, formal language of making that I developed as an architect.”
NICOLAS SCHÖFFER
ニコラ·シェフェール
Chronos 5
In 1948 he created the concept of “space dynamism”. In his words, space dynamism is “the constructive and dynamic integration of space in plastic work.” Based on this idea, he will seek to create the total work of art, concretized in the cybernetic village, a city full of utopian spaces. His work combines cybernetic, kinetic art and interactive art, of which he is one of its first representatives, making the first works of art in real time or live in the history of art.
marnix de nijs
PIVOT POINT – ICHIHARA
‘Pivot Point – Ichihara’ is an interactive site-specific installation. Standing on a controller pod you navigate over and through a 3D terrain where gravity seems to have disappeared, you gradually become tele-present in a parallel projected space by exploring a mediated version of the venue, it’s direct surroundings and the Ichihara region. A cinematic journey to a fascinating point cloud realm, precise in details but simultaneously abstract and dreamlike.The kidney shaped interface is covered with capacitive sensors and mounted on a pole, touching this interface right, left, up or down aims the virtual camera accordingly. When you release the navigation pole the virtual camera automatically starts spiralling back to the initial starting point your journey and temporary centre of the universe, the Asohbara Art House.
MARCELO MOSCHETA
Universalis Cosmographia
Sinds het begin van zijn artistieke carrière in 2000 heeft hij werken en tentoonstellingen gemaakt die voortkomen uit reizen naar afgelegen plaatsen, waar hij objecten uit de natuur verzamelt en deze reproduceert door middel van tekenen en fotografie, installaties en objecten creërend. Recent is zijn interesse gericht op het onderzoeken van grenzen en opgelegde grenzen aan territoria en ook de relatie tussen rivieren en het landschap dat hun loop volgt.
