VORTEX

Architectural fragment made from scaffolding, VORTEX has a raw wood skin highlighted by 12 lines of LED light as many generative and constructive project’s lines. Merging organic materials with new technologies, this hybrid architectural artwork wraps around and embraces the footbridge between the complex’s two buildings, revealing and enhancing the venue’s dynamic energy while working as a live visualizer of energy consumption. VORTEX evolves like a living organism; it breathes, trembles and emits pulses of light created using 1024’s MadMapper software. Manually controlled via a joystick, the structure can be synchronized to music and also displays its location’s energy consumption through a series of illuminated tubes. It ultimately answers to the ambient environment around it, capturing the Darwin Ecosystem Project’s unique energy consumption footprint, and converting it into data that is processed to spawn realtime visuals.
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I frequently entertain the idea that everything we perceive might actually not be real at all, that the world around me could actually just be my senses lying to me. The idea that “reality is a hoax” completely freaks me out, so naturally it became the concrete starting point for my collection. From this, I began to develop different ways of “imagining” garments, of finding ways of putting things that are not really there into existence. I wanted to blur the lines of real versus imagined//artificial. Print was the best facilitator of this goal.

Plato’s Atlantis

“En regardant en arrière sur la collection printemps 2010 d’Alexander McQueen, intitulée Plato’s Atlantis, il est facile de lire la série comme un ancêtre de la révolution du streaming de la mode, un héraut de la mode biomorphique et biophilique, et le précurseur de notre obsession pour les chaussures vraiment assez bizarres. Le recul nous dit également que ce défilé monolithique captivant était le dernier de McQueen”. Steff Yotka

SHOW STUDIO:Nick Knight

Entwurf
Blueprint umfasst die Beziehung und Parallelen zwischen Kunst und Wissenschaft und schafft Kompositionen durch die mathematischen Prinzipien der Logik, die das Leben stützen. UVA untersucht Analogien zwischen DNA und Computercode und hat die Blueprint-Serie entwickelt. Arbeiten, die Genetik und Code als Blaupausen künstlicher und natürlicher Systeme verbinden. Da sich die Arbeit im Laufe der Zeit langsam ändert, schwanken die Muster zwischen verschiedenen Komplexitätsgraden. Blueprint verwendet die Grundkonzepte der Evolution, um ein sich ständig veränderndes Bild zu erstellen. Während Zellen ihre Gene buchstäblich auf ihre angrenzenden anderen übertragen, fließt Farbe wie Farbe über die Leinwand. Blueprint erstellt jede Minute eine einzigartige farbenfrohe Komposition und präsentiert das unbegrenzte Ergebnis, das sich aus einem einzigen Algorithmus ergibt. ein einziges Regelwerk.

天堂之城
MVRDV的The Imprint是更大的天堂城市综合大楼的一部分，该大楼共有6栋建筑物，该大楼将提供全套​​娱乐场所和酒店景点，距离韩国最大的机场不到一公里。鉴于拟议的两座建筑物的计划–一家夜总会和室内主题公园–客户需要没有窗户的设计，而该建筑物仍与综合大楼中的其他建筑物结合在一起。

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.

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

Empire State
Empire State is a kinetic A.I. artwork visualizing the current time-of-day and weather at the Empire State Building in New York. The imagery was created from running a sketch through an Artificial Intelligence model to generate two variations on the image, each printed on each side of the discs. The piece visualizes the current time-of-day and weather by animating clouds, rain, light/shadow, by rotating sections of discs to the reverse side. When one walks up to the piece, they will see their image reflected back at them, further embedding them to the connection between where they are and the current state in NYC.

Japanese firm yoichi yamamoto architects has completed ‘2D/3D chairs’ for tokyo fashion labels issey miyake store. featuring a series of traditional dining chairs, the installation transforms from a two dimensional graphic into a tangible piece. The perspective is manipulated creating a unique appearance from different vantage points for onlookers. graphics of legs in varying perspectives are printed onto a horizontal plane while the chair backs rest upon the surface. The seat backs maintain a seamless transition from the graphics by utilizing assorted sizes, heights and placed at diverse angles.

Intuit
The movements of one individual effect the balance of the piece so greatly that the other person must move to balance the sculpture. ‘Our bodies are constantly adapting and bending to the configurations of buildings and the designs of transportation. In recent drawings, urban blueprints fuse with human anatomical representation… I emphasize on the ideas of flexibility and lightness. The machines I build serve to express the elegance of a gesture, a finite moment of equilibrium.’ Eve Bailey

Orbiting
Orbiting features floating, machine-generated sculptures. The 3-D-printed objects — made from an ultra-light material — are injected with helium and released into the air as they become buoyant. As the ascending sculptures rise toward the ceiling, they enter the flow of a thermal stream and begin their gentle orbit. While floating, these ethereal objects participate in a continuously changing series of celestial movements.

Mirror Matter
In the neutrino observatory rendered in Mirror Matter, slow panning movement gives a sense of the immensity of the nearly 13,000 photo-multipliers that inhabit this strange vessel – their ‘eyes’ engineered to watch light. Another frame depicts the Hadron Collider at CERN; its architecture envisioned through lidar scans, producing a dynamic, transparent imprint in three dimensions. Described as a vision that flows through the body, it is imagined by Škarnulytė as ‘alien archaeological vision’ with the ability to see through, and as the experience of sight farthest from the human realm. Through simultaneous perspectives, the constant surveying motion that weaves a continues thread through each video narrative, and the immersion generated by the reflective black ceiling, the viewer is imparted with this panoptical mode of perception.

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

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.

WOMANEROES

“Eliška Sky’s tribe of ‘womaneroes’ stand bold and bright, their bodies and heads adorned in vibrant shapes, colours, and textures. Beneath the wigs and paint are women of all ages, shapes and ethnicities, photographed with a large-format camera to capture every detail, rough or smooth, with the intention for the images to eventually be printed and exhibited life-size. “It started as visual play, but transformed into a series that challenges depictions of women’s bodies,” explains the London-based Czech photographer. “In light of my own experience of working in the fashion industry, I felt the need to portray the body in new ways and forms, with an element of playfulness and humour in opposition to western media advertising”.” Marigold Warner

于爾根·邁爾
يورغن ماير
위르겐 마이어
יורגן מאייר
ユルゲン・マイヤー
Юрген Майер
Danfoss Universe Science Park

Jürgen Mayer H. prévoit d’étendre «Danfoss Universe», un parc d’aventures scientifiques et technologiques à Nordborg, au Danemark, près du siège de Danfoss au printemps 2007. Plusieurs bâtiments d’extension sont en cours de construction sur le site de 5,5 ha, dont un restaurant et un centre d’expositions et de conférences (total 1400 m2). Ces bâtiments, d’une apparence exceptionnelle, mettent en valeur l’idée de base pédagogique et innovante de Danfoss Universe et visent à susciter l’intérêt pour la nature et la science.

Shorter than the Day
The New York-based artist captures the sky as it changes from cerulean blue morning to a colorful sunset to the many shades of night through nearly 1,000 photographs of the sky. Each printed image is fastened to the aluminum and steel with alligator clips and is revealed as viewers move around the massive work, just like the earth circles the sun to mark a day.

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

the girl in the wood frock
This project is based on a fairy tale in which a girl’s life is changed by what she wears. It is through clothing that the heroine experiences the outside world and the wood dress is both armor and prison for the girl, allowing her to escape the threat of incest while also disguising her true self from the prince.
Each dress in the series is an exercise in controlling one’s most immediate environment and how one navigates such an intimate spatial situation, using covers to filter what we feel by either exaggerating or muting sensation. They are also explorations of material technique and are made using a combination of high and low-tech methods and industrial materials such as printing press felt, rubber, and copper cable. The dresses are built rather than sewn and architectural construction informs their detailing.

迈克尔·曼宁
Most known for his series Phone Arts and Microsoft Store Paintings, these works explore the boundaries and limitations of stock image making software like Microsoft Paint. Manning uses these technologies to create his digital works, that are Abstract Expressionist in nature but persistent in their idiosyncratic Manning aesthetic. While these works begin as JPEGS, they are then printed onto canvas and brushed with a clear acrylic for texture, able to transcend the screen into the three dimensional gallery.

Energie!
Thorsten Fleisch creates films that reveal the shapes and patterns of natural forces and phenomena. In this work he reveals what energy in one of its simplest forms looks like in motion. Energie! is a sequence of still images created on light-sensitive photographic paper. The artist exposed dozens of sheets of paper to enormous electrical discharges, each leaving its imprint as a trail of light. Animating these images reveals patterns in their flow of energy, akin to tracing the flow of electricity at each moment of a lightning strike. As the images are photographs created without cameras, they are records of single moments. Accordingly we see dozens of split-second documents animated to reveal the shape and power of energy.

Neri Oxman: Material Ecology

Vespers

“Vespers is a collection of 15 3-D-printed masks that explore the idea of designing with live biological materials. The collection consists of three distinct series, each reinterpreting the concept of the death mask—traditionally a wax or plaster impression of a corpse’s face. Taken as a whole, the three series form a narrative arc from death to rebirth. In the first series, Oxman and The Mediated Matter Group looked at the death mask as a cultural artifact. Fabricated using an algorithm that deconstructed polyhedral meshes into subdivided surfaces, the masks were 3-D printed with photopolymers, as well as with bismuth, silver, and gold, and rendered in color combinations that recur in religious practices around the world.” Rachel Morón

Eco Warriors

A Beginner’s Guide for Eco Warriors is inspired by the current dramatic changes in Earth’s ecosystem due to the human impact, the so-called age of Anthropocene. This short film represent, with certain level of exaggeration, tips and inspirations how to lower your ecological footprint and contribute to the slowing down of global warming and the protection of natural habitats. This short film then becomes a small guide for Eco Warriors and urges for reflection and reaction from each of us.

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.

Intolerance: Love’s Struggle Throughout the Ages
Regarded as one of the most influential films of the silent era (though it received mixed reviews at the time), the three-and-a-half-hour epic intercuts four parallel storylines, each separated by several centuries: (1) a contemporary melodrama of crime and redemption, (2) a Judean story: Christ‘s mission and death, (3) a French story: the events surrounding the St. Bartholomew’s Day massacre of 1572, and (4) a Babylonian story: the fall of the Babylonian Empire to Persia in 539 BC. Each story had its own distinctive color tint in the original print, but not in the currently available versions.
cinema full

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.

insect microscope
The scientist at Howard Hughes Medical Institute’s Janelia Farm Research Campus, has been using laser-scanning microscopes to capture the incredible details of the insect world unseen to our naked eyes. Not only that, he also colors the pictures to show the tree-like structures that turn the pictures into these vibrant blueprints of life.

birdgirl
It’s hard to pin down what media German artist Alma Haser actually works with: Her series involve photography, cut-up collages, rephotographing prints, and weaving together multiple images to strike a balance of time and space. Take I Always Have To Repeat Myself, for example. Each piece layers two or more prints either physically (weaving or overlaying strips of different photographs to add a sense of depth and dimension) or within a new frame—a number of the pieces feature sitters manipulating photographs of themselves, playing with perspective to offer and dizzying and disorienting fresh take on portraiture and image making.

The Overall Effect of Flying with the Wind
Chen Qi has applied watermarked prints, woodcuts, books, installations, videos and other various media in his “Notations of Time” of 2010. In his new creations, he continues his exploration into “time”, “life”, “existence” and other basic issues with his off-screen language. Thus, his “Flying with the Wind” can be taken as an extension of his general concept of “Notation of Time”, as well as being closely related to his water-based printmaking which is a continuation of the infatuation with the traces of objects from Chinese wash paintings and the ink rubbings of ancient stele inscriptions.

袖岡由英
13-compositions #10
gif
Yoshi Sodeoka is an artist based in New York for over two decades, whose work is characterised by his neo-psychedelic aesthetic and exploration of multiple media and platforms. Primarily comprising of video, GIFs and print his practice also simultaneously inhabits the world of fine art, music, publications, and advertising.more…

21 Swings

L’installation 21 balançoires est de retour dans le Quartier des spectacles. L’oeuvre interactive et musicale permet aux passants de s’unir pour créer une mélodie unique. Derrière ce projet, maintes fois primé, se cachent deux artistes québécoises, Mouna Andraos et Melissa Mongiat. Les deux jeunes femmes viennent d’ailleurs de remporter le concours d’art public pour le nouveau Planétarium Rio Tinto Alcan. Avec l’ouverture d’un bureau à New York et un nouveau contrat au Minnesota, les deux Montréalaises se préparent tranquillement à prendre la planète d’assaut.Pour la troisième année consécutive, les gens pourront se balancer sur la Promenade des artistes tout en composant une symphonie originale. L’installation 21 balançoires, d’une superficie de 30 000 pi2, est une création du studio Daily tous les jours, fondé par Mouna Andraos et Melissa Mongiat, en 2010.Si la musique produite par ces balançoires est éphémère, l’installation ne l’est pas, ce qui oblige ses créatrices à poser un regard critique sur leur oeuvre chaque printemps. «Il y a des bons et des mauvais côtés à notre forme d’art, avoue Melissa Mongiat. On peut prendre un certain recul, une fois le projet démonté.»

Taipei Museum of Contemporary Art
This building proposal challenges the traditional definition of a museum and the conventional relationship between building and site. The ground floor of the building is reduced to a nominal footprint, enclosing only enough space for basic services, structure and ticketing functions. The ground plane is primarily reserved for exterior public space, including an art park, Hall of Fame, and garden walk. The bulk of the program and building mass are split by the open ground floor. Half of the building is coupled with the earth while the other half hovers in the air. The purpose is twofold; to minimize the damaging effects of extreme local weather by harnessing environmental flows toward productive outcomes and to re-conceptualize the identity of a modern art museum. The manicured roof plane of the below ground program is pocketed with water absorbing vegetation and catchment systems, while the hovering museum above expands to form open atriums, allowing diffuse light to brighten the space and passive airflow to comfortably condition the building.The program of the museum is interconnected. The Contemporary Museum of Art, Children’s Museum of Art and Administration are located within the floating mass. The lecture hall, parking, art resource center, library and classrooms are located below ground. The programs below ground are easily accessible and directly connected through vertical circulation tubes, providing both structural support for the floating mass above and space for movement systems, such as escalators, stairs and elevators between levels. All of the below ground programs are flooded with diffuse light passing through skylights that penetrate the landscape.

Michel Fokine
Nina Ananiashvili

L’Oiseau de feu (The Firebird) is a 1910 Igor Stravinsky ballet based on Russian folk tales about the brilliant magic bird  that is such a blessing. like a doom for your captor.
The music was first presented as ballet by Sergei Diaghilev’s Ballets Russes, the first of his productions made with music specially composed for the company. Ballet has historical significance because it was the piece that gave Stravinsky the first great success, and because it was the beginning of a collaboration between Diaghilev and Stravinsky that Petrushka and Le Sacre du Printemps would also result.

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.

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.”

The Harmonic Series

File Festival

Created by Manuela Donoso and Luisa Pereira, The Harmonic Series is a collection of mechanical devices , software, sculptures and prints that explore the relationship between musical and visual harmony.Inspired by the nineteenth century mathematician Jules Lissajous who invented a device to visualize sound vibrations using two tuning forks and a beam of light reflected from one mirror to the next to a screen, Manuela and Luisa have re-created and extended this experiment using recent tools. An electronic version of the device replaces the tuning forks with microphones and speakers, allowing people to sing different musical intervals, and contrast the resulting figures with the more chaotic ones generated by percussive sounds. An application plays groups of three notes and plots 3d Lissajous figures for their frequency ratios. The frequency ratios for major, minor and diminished chords are 4:5:6, 10:12:15 and 20:24:29 respectively. These chords were plotted using the app, and then printed as posters and sculptures that reveal a tight relationship between aural and visual harmony.

Виктор Хорстинг и Рольф Снерен
Viktor Horsting et Rolf Snoeren sont tout à fait les maîtres de l’illusion. Découvrez la robe trippante qu’ils ont envoyée sur leur défilé printemps-été 2010. On dirait qu’Anja Rubik a été coupée en deux – halètement! Alors, comment ont-ils fait cela? Si vous vous approchez, vous remarquerez une bande noire entre les deux couches de tulle. Je me demande quelle célébrité osera faire défiler celle-ci sur le tapis rouge.

feel Me tactile interactive bed
File Festival
“feelMe” is a work that for the first time remotely transmits the tactile sensation. Our work provokes the exploration of the sense of touch while promoting the interaction between two people mediated by a machine. The work is constituted of two surfaces, or “beds”: the first one (tactile transmission unit), in which one of the participants, layed down, imprints marks to its surface by pressing it with the weight and movement of the different parts of his/her body; these impressions will be captured and transmitted to the other participant, who lies in the second “bed” (tactile reception unit) and receives them simultaneously in the same positions and in proportional intensities, however, in negative, that is, when the surface in the first bed sinks, it rises in the second one, promoting a touch. The first body touches the second one, and the “beds” may be a few meters or thousands of kilometers apart from each other. Between the bodies, dozens of occult sensors, microcontrollers, engines (lineal actors), computers and a program that orchestrates that tactile communication. We allow the participant to experiment the possibilities of encounter between bodies through the digital world, with a different approach from the one provided by virtual reality. We want to explore the tactile perception separately in its “corporal way”, and only in future works to propose the expansion/extension of multimedia perception with the inclusion of tactile perception.