RYUJI NAKAMURA

中村竜治
류지 나카무라
РЮДЗИ НАКАМУРА
spring (invisible 3D screen)

Japanese architect Ryuji Nakamura has constructed a nearly invisible 3D screen that only reveals itself in the presence of light.  This installation ‘spring’ was part of the “Neoreal in the Forest” exhibit at this year’s Milan Design Week

ANOUK WIPPRECHT

PANGOLIN DRESS

The Pangolin Scales Project demonstrates a 1.024 channel BCI (Brain-Computer Interface) that is able to extract information from the human brain with an unprecedented resolution. The extracted information is used to control the Pangolin Scale Dress interactively into 64 outputs.The dress is also inspired by the pangolin, cute, harmless animals sometimes known as scaly anteaters. They have large, protective keratin scales covering their skin (they are the only known mammals with this feature) and live in hollow trees or burrows.As such, Pangolins and considered an endangered species and some have theorized that the recent coronavirus may have emerged from the consumption of pangolin meat.Wipprecht’s main challenge in the project’s development was to not overload the dress with additional weight. She teamed up 3D printing experts Shapeways and Igor Knezevic in order to create an ‘exo-skeleton like dress-frame (3mm) that was light enough to be worn but sturdy enough to hold all the mechanics in place

tabor robak

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Neri Oxman

Wearable Structures for Interplanetary Voyages
Muchos del proyectos de Oxman usan impresión 3D y técnicas de fabricación. Incluyen el Silk Pavilion, hilado por gusanos de seda en un marco de nylon,3​ Ocean Pavilion, una plataforma de fabricación a base de agua que construyó estructuras de quitosano,4​ G3DP, la primera impresora 3D para vidrio ópticamente transparente y un conjunto de vidrio producido por ella,5​ y colecciones de ropa impresa en 3D y utilizables en espectáculos de alta costura.
Viajar a destinos más allá del planeta Tierra implica viajes a paisajes hostiles y entornos mortales. La gravedad aplastante, el aire amonioso, la oscuridad prolongada y las temperaturas que hervirían el vidrio o congelarían el dióxido de carbono, casi eliminan la probabilidad de visitas humanas.

AMY KARLE

regenerative reliquary
Leveraging the intelligence of human stem cells, she created “Regenerative Reliquary”, a bioprinted scaffold in the shape of a human hand design 3D printed in a biodegradable pegda hydrogel that disintegrates over time. The sculpture is installed in a bioreactor, with the intention that human Mesenchymal stem cells (hMSCs from an adult donor) seeded onto that design will eventually grow into tissue and mineralize into bone along that scaffold.

Maria Takeuchi & Frederico Phillips

asphyxia
The performance is centered in an eloquent choreography that stresses the desire to be expressive without bounds. Motion data was captured using inexpensive sensors and that data paved the way through an extensive number of steps. Once all the scanned point cloud data were combined, they were used as the base for the creative development on the piece. A series of iterative studies on styles followed and several techniques and dynamic simulations were then applied using a number 3D tools for various results.

BERENIKE CORCUERA

Purple Light

À travers des photographies kiriliennes de son aura capturées pour la première fois en 2014, elle a commencé à étudier le champ aurique électromagnétique du corps humain:L’aura est une ellipse métaphysique 3D composée de 7 bandes de corps de lumière autour du corps physique. L’énergie de l’aura est transmise vers / depuis le corps via 7 centres d’énergie – des chakras («roue» en sanskrit) situés le long de la colonne vertébrale du corps humain, ce qui a inspiré sa collection d’études supérieures.Berenike traduit la légèreté dans toute sa collection, en dédiant 6 looks aux centres spécifiques et à leur couche de corps léger.

Marc Lee

10.000 Moving Cities
Visitors can select any city or place, using a digital interface. About the chosen place, the Internet is searched in real time for latest text, image, video and sound informations. Four projectors and eight audio speakers project the results into the space. Visitors are able to walk through the model and experience the information in 3D. Attracted and inspired by images, sound, text and videos, visitors explore the places and perceive fragments of the immense amount of data. Additionally audio and visuals constantly change, they are never the same, always in movement as the place as itself. Just as all cities over the world are different, so different and alive appear the projections and sounds.

clement valla

Valla claimed to have collected a series of 60 “surrealistic” images, or that, at least, give that impression, during a long period “playing” in Google Earth.“The images are a kind of mirrors for a fun house.They are strange illusions and reflections of the real ”Despite the strong distortions, which easily resemble a surrealist painting, the images of the work do not have any manipulation of tools like Photoshop, for example.”The images are screenshots of Earth with basic color adjustments”, “This is a construction of 3D maps on two-dimensional bases, creating these fabulous and unintended distortions”.

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.

FRANCK SORBIER

On stage, the ample white strapless dress of a still model serves as a screen for all kinds of projections that echo those of a big screen in the background. “Mixing 3D video with certified fairy tale stories and tailoring tradition” is the idea of the atypical Mountain Ash. Intel technology brings to life on the fabric all kinds of patterns simulating embroidery or painting on silk: stripes of neon lights, butterflies flapping their wings, “mapping” of crystal tassels or the northern lights …

 

Mike Pelletier

FILE FESTIVAL
Performance: Capture Part 2

In “Performance Capture: Part 2”, open source motion capture sequences are mapped onto stock low-polygonal unsmoothed 3D characters. Bodies inflate, deflate and oscillate between states, while movements shift and repeat in offset patterns as information transfers from one body to the next. In the animation, what should be used to record, simulate and create perfect virtual realities instead collapses into the uncanny, the abstract and the unreal.

Wang & Söderström

Growth
Wang & Söderström is a Copenhagen based transdisciplinary duo composed of Swedish designer Anny Wang and architect Tim Söderström. The bridging of the physical and digital realms is a major theme in their practice and they are constantly trying to challenge the boundaries between them. Fluctuating between art and design, Wang & Söderström wants to throw out pre-existing conventions regarding the digital and put emphasis on the emotional and tactile side of materials, objects and textures to give the digital a more human-relatable quality and create more meaningful connections. “By 3D scanning elements from nature, like tree trunks, leaves and plants and mixing it with surrealistic materials and behaviors, we wanted to let them continue to grow in a digital environment.”

Ai-Spacefactory

Marsha
Marsha is a AI SpaceFactory’s NASA-award-winning design and prototype for a 3D printed Mars habitat. The prototype was printed nearly autonomously in 2019 within a 30-hour construction window. “Our 3D print technology uses a recyclable biopolymer composite which outperformed concrete in NASA’s strength, durability, and crush testing. ASTM lab tested and certified to be two to three times stronger than concrete in compression, our space-grade material is also five times more durable than concrete in freeze-thaw conditions.” Ai-Spacefactory

Zaha Hadid Architects

bow chair
designed by Zaha Hadid Architects, Ross Lovegrove and Daniel Widrig

Bow is the latest result of the extensive, ongoing research that ZHA is conducting within the domains of 3D printing and material experimentation.The chair combines pristine design informed by structural optimisation processes typically found in nature, with innovative materials and the most advanced fabrication methods. The pattern and the colour gradient concur in redefining the traditional spatial relationship between furniture and its setting.

Dirk Koy & Bild und Bewegung

Luftraum
In 2016, Dirk Koy founded the studio for motion design and experimental film «Dirk Koy Bild und Bewegung». In his work, he uses different technologies (drones / 2D and 3D animation / photogrammetry / AR / VR) to create moving digital images. He investigates the interface between reality and virtuality and is also looking for the painterly component in the digital context. The Experiment plays a central role.

TANGIBLE MEDIA GROUP

inForm
is a Dynamic Shape Display that can render 3D content physically, so users can interact with digital information in a tangible way. inFORM can also interact with the physical world around it, for example moving objects on the table’s surface. Remote participants in a video conference can be displayed physically, allowing for a strong sense of presence and the ability to interact physically at a distance.

MHOX

COLLAGENE
People’ faces are scanned throught a sensor and acquired in a digital environment. The software application written by the designers generates customized masks for each person. The masks are produced as unique pieces through 3d printing and WINDFORM materials.

Driessens & Verstappen

Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.

YANNICK JACQUET, JEREMIE PEETERS AND THOMAS VAQUIE

3DESTRUCT
3Destruct is an immersive installation, a large semi transparent cube that generates light an sound, and as the visitor walks through, he loses his landmarks in this non-linear universe that destroys any spacial coherence.

Alexis Walsh and Ross Leonardy

The Spire dress
Alexis Walsh is a designer and artist based in New York City. Through the exploration of emerging technologies including 3D printing and digital modeling, integrated with traditional handcraft, Alexis utilizes an interdisciplinary approach to push the boundaries of fashion design. Alexis graduated with honors from Parsons The New School for Design.

The Man from the 9 Dimensions

The Man from the 9 Dimensions

Based on the latest scientific data and hypotheses, Takashi Shimizu, the pioneer of horror movies, visualizes the world as theoretical physicists see it in order to create a new kind of science movie. The world’s first 3D full-dome movie on the “Theory of Everything”; the ultimate goal of physics to describe all natural phenomena by a single, consistent theory. Physics is in crisis. Our understandings of the microscopic world of elementary particles and of the macroscopic world of the universe are in contradiction. Scientists are striving to resolve the contradictions and construct the Theory of Everything. Be ready to be surprised by the new world of vibrating strings and hidden dimensions predicted by the most promising hypothesis, the Superstring Theory.

Scientific Advisor: Hirosi Ooguri

Director: Takashi Shimizu

ERIK SÖDERBERG

Organic Cube
GIF
In early 2011 I was exploring the relations of geometry, nature and the human being in a series of 25 pictures that I called ”Fractal Experience”. This is part two – continuing the exploration of geometric shapes, patterns, and fractals with an added element: space-time. This time I’ve worked in 3D and produced a set of animated looping gif’s.
I’ve limited each animation to at most 48 frames, most are around 10-15 frames – to keep the file size small and to maximize the creativity with in these frames.

Erik Söderberg

Erik Söderberg

Radiation
gif
Début 2011, j’explorais les relations de la géométrie, de la nature et de l’être humain dans une série de 25 images que j’ai appelées «Expérience fractale». Il s’agit de la deuxième partie – poursuivre l’exploration des formes géométriques, des motifs et des fractales avec un élément supplémentaire: l’espace-temps. Cette fois, j’ai travaillé en 3D et produit un ensemble de gifs en boucle animés.
J’ai limité chaque animation à 48 images au maximum, la plupart se situent entre 10 et 15 images – pour garder la taille du fichier petite et maximiser la créativité avec ces images.

erik söderberg

Turbulent Flow
Gif
No início de 2011, eu estava explorando as relações da geometria, da natureza e do ser humano em uma série de 25 fotos que eu chamei de “Experiência Fractal”. Esta é a parte dois – continuando a exploração de formas geométricas, padrões e fractais com um elemento adicional: espaço-tempo. Desta vez, trabalhei em 3D e produzi um conjunto de gifs animados em loop.
Limitei cada animação a no máximo 48 quadros, a maioria tem entre 10 e 15 quadros – para manter o tamanho do arquivo pequeno e maximizar a criatividade com esses quadros.

ERIK SÖDERBERG

mercury
gif
Anfang 2011 untersuchte ich die Beziehungen von Geometrie, Natur und Mensch in einer Serie von 25 Bildern, die ich “Fractal Experience” nannte. Dies ist Teil zwei – Fortsetzung der Erforschung geometrischer Formen, Muster und Fraktale mit einem zusätzlichen Element: Raum-Zeit. Dieses Mal habe ich in 3D gearbeitet und eine Reihe von animierten Loop-Gifs erstellt.
Ich habe jede Animation auf höchstens 48 Bilder beschränkt, die meisten sind etwa 10 bis 15 Bilder – um die Dateigröße klein zu halten und die Kreativität in diesen Bildern zu maximieren.

Claudia Hart

The Swing

In The Swing, a 3D game avatar becomes Rococo fleshy decadence. In this multi-screen animation, the avatar swings on a seat suspended from the sky, in super Mannerist slow time. Her wooded surroundings ebb and flow at different rate, imitating stop-motion. Years pass in a matter of moments. The avatar is the driver of all of these cycles, but a driver scarcely in control – she is instead, a Mother Nature heading straight for what she suspects might be oblivion. The Swing is a multi channel installation, in nine, five and three screen versions.

sound: Kurt Hentschlager

ASIF KHANS

アシフ·カーン
아시프 칸/
Асиф хан
megaface

Valentin Spiess di iart, spiega come funziona il sistema. «Dietro il telone ci sono più di 10mila cilindri telescopici estensibili, sormontati da una sfera con il LED colorato. Quando la persona da ritrarre entra nel gabbiotto per il selfie, vengono scattate 5 immagini che un computer assembla in un rendering 3D. Una volta terminato il disegno, le informazioni vengono inviate al sistema che regola il posizionamento dei cilindri telescopici che si mettono nella posizione giusta per far apparire il viso prescelto». Il sistema è stato costruito in modo da poter essere riutilizzato. Come una specie di Mount Rushmore mobile e per tutti.

CHRISTIN MARCZINZIK & THI BINH MINH NGUYEN

SWING
oculus rift
FILE FESTIVAL
“Swing” brings these feelings back and makes a dream come true: the dream of flying. Thus, the swing becomes a physical component of an interactive installation. The use of 3D oculus enhances the swinging experience with virtual reality, creating a unique immersive adventure and sending you to a crafted watercolor world.

Dmitry Zakharov

Black Liquid
FILE FESTIVAL
ANIMA+

Black Liquid is an abstract 3D animation showing different aggregation states. Matter transforming from liquid into solid and shatterly.
The spectator is free to understand the video exclusively as an illustration of physical processes or as an metaphor for the human being. The interpretation of the Video is dedicated by Zakharov to the spectator himself.

PAKUI HARDWARE

Shapeshifter Heartbreaker

Shapeshifter, Heartbreaker, is an installation on two levels composed of sculptural work and 3D computer animations that are both abstract and figurative. On the first level Pakui Hardware has designed an office desk using the typical components of a trading floor. However, this is not a work station for individuals; it is for computer aided trading, non-human activities which are approximated in the three channel videos atop desks noticeably lacking keyboards and mice. These activities often occur at an exceedingly fast pace, in the blink of an eye, an expression that lends its name to a video installed on the second floor. There, the blinks of a humanoid form have been accelerated to illustrate how fast the body would have to consciously react if it were operating at the speed of decision making that resulted in the stock market’s ‘flash crash’ of 2010.

pakui hardware

Shapeshifter, Heartbreaker

Shapeshifter, Heartbreaker, is an installation on two levels composed of sculptural work and 3D computer animations that are both abstract and figurative. On the first level Pakui Hardware has designed an office desk using the typical components of a trading floor. However, this is not a work station for individuals; it is for computer aided trading, non-human activities which are approximated in the three channel videos atop desks noticeably lacking keyboards and mice. These activities often occur at an exceedingly fast pace, in the blink of an eye, an expression that lends its name to a video installed on the second floor. There, the blinks of a humanoid form have been accelerated to illustrate how fast the body would have to consciously react if it were operating at the speed of decision making that resulted in the stock market’s ‘flash crash’ of 2010.
.

Rafael Lozano-Hemmer

Sphere Packing
“Sphere Packing” is a series of 3D-printed pieces designed to concentrate the entire musical production of a composer in a single dense multi-channel device. The size of each sphere is directly proportional to how prolific the composer was, for example the sphere for Johann Sebastian Bach has 48 cm diameter and holds 1100 loudspeakers playing simultaneously Bach’s 1100 different compositions, while the sphere for Hildegaard Von Bingen only has 11 cm diameter and 69 loudspeakers. The project presents at a glance the comparative production volume of many composers. As people are a couple metres away from a sphere they hear a quiet murmur of sounds, but as they approach and put their ear up close to individual speakers they can hone in on specific compositions. The series is inspired by American composer Charles Ives’ practice of simultaneity as a compositional tool.

DESIGN STUDIO EMERGING OBJECTS

设计工作室新兴对象
Saltygloo
American studio Emerging Objects 3D-printed this pavilion using salt harvested from San Francisco Bay. “The structure is an experiment in 3D printing using locally harvested salt from the San Francisco Bay to produce a large-scale, lightweight, additive manufactured structures,” said Ronald Rael and Virginia San Fratello of additive manufacturing startup Emerging Objects. They explained that 500,000 tonnes of sea salt are harvested each year in the San Francisco Bay Area using power from the sun and wind. “The salt is harvested from 109-year-old salt crystallisation ponds in Redwood City,” they said. “These ponds are the final stop in a five-year salt-making process that involves moving bay water through a series of evaporation ponds. In these ponds the highly saline water completes evaporation, leaving 8-12 inches of solid crystallised salt that is then harvested for industrial use.”

AL AND AL

The Creator

Decades ago, Turing famously asked, ‘Can machines think?’ and ever since, the notion of computers exceeding human intelligence has transfixed researchers and popular culture alike. For their fantastical Turing interpretation, the directors conjoin Lynchian nightmare with the prophetic themes of J.G. Ballard. Audiences will enter the haunting dream world of the legendary scientist, who gave birth to the computer age. Turing’s binary children embark upon a mystical odyssey to explore their creator’s dream diaries in a quest to discover their origins and destiny in the universe.
Probing the infinite possibilities of technology, AL and AL investigate the shaping forces of fantasy and reality. Having established themselves as pioneering artist filmmakers, they combine performance with computer-generated 3D environments to create dream worlds.