Shenzhen Genzon Technology Innovation Center

Aedas

Cette image vivante implique les possibilités infinies dans l’intégration de la technologie, de l’énergie et de l’innovation. La conception propose des ascenseurs-navettes et des terrasses partagées le long du côté centripète de chaque tour pour engendrer un environnement de bureau relaxant à expansion verticale. La zone ouverte s’étend longitudinalement et se rejoint naturellement au fond; accentué par l’éclairage intérieur, des contours d’étamines dorées émergent et les panneaux de verre incurvés se présentent comme des pétales, faisant allusion à la muse florale du projet.

SHALLOWS

Projection, variable size

UnTiefen (shallow waters) form the transition from the so-called Bridge Studio at the OK to the attics of the Ursulinenhof. Just as every body of water represents a natural boundary that separates and at the same time connects two shores, this flowing floor projection can also be understood as both: a path and an invitation to seek one’s own position in this transition zone.

Lumières relationnelles
FILE FESTIVAL
Lumières relationnelles» est une installation audiovisuelle interactive qui explore la relation des personnes avec le caractère organique-expressif de «l’espace». L’installation utilise la lumière, le son, le brouillard et un système logiciel personnalisé pour créer un espace-lumière en trois dimensions morphing (métamorphose), dans lequel les spectateurs participent activement, le manipulant avec leur présence et leurs mouvements […] un organisme vivant, avec ou sans la présence et l’interaction des spectateurs. Lorsque les spectateurs quittent la zone de suivi active, le système commence son propre dialogue avec l’espace en extrudant et en transformant des séquences de formes géométriques lumineuses. Lorsque les spectateurs pénètrent et interagissent avec l’espace-lumière projeté, une expression collective et participative de l’espace se déploie. «Relational Lights» élargit le tissu tridimensionnel de l’espace, le rendant visible, audible et tangible pour les participants.

Grandir
GROW, la dernière œuvre de Daan Roosegaarde, est un hommage à la beauté de l’agriculture. Dans la première mondiale du film, GROW apparaît comme un paysage onirique lumineux de vagues de lumière rouges et bleues sur un immense champ. GROW s’inspire de recettes lumineuses scientifiques qui améliorent la croissance et la résilience des plantes. La plupart du temps, nous remarquons à peine les immenses zones de la Terre qui nous nourrissent littéralement. GROW souligne l’importance de l’innovation dans le système agricole : comment une conception d’éclairage de pointe peut-elle aider les plantes à pousser de manière plus durable ? Comment faire du fermier le héros ?

Sonic Mountain
As a unique site-specific commission for the Donum Estate, Los Angeles-based artist Doug Aitken has created the ethereal work Sonic Mountain (Sonoma), three concentric circles of suspended stainless-steel pipes whose differing lengths form a wave at their base, mirroring the free Euler-Bernoulli shape that describes the chime’s frequency. Installed in the eucalyptus grove, measuring forty-five feet in diameter and twice human height, and comprising 365 chimes — one for each day of the year — Sonic Mountain (Sonoma) works with one of Donum’s most persistent elements, the Carneros breeze that cools the grapes and creates a temperate zone for growing Pinot Noir. Each day, the warm wind begins its soft whisper, rustling through the vines and trees, building in strength through the day until mid-afternoon, and then gradually diminishing in force. Known to have been used since at least the ancient Roman period in Europe and the second century in India and China, wind chimes create chance, inharmonic music. At Donum, Aitken has teamed up with his friend the composer Terry Riley to compose chords in the chimes to be played by the wind , depending on how it blows, so the lyrical work sounds throughout the estate, demonstrating the artist’s practice of making installations that synthesize many media and are never constrained by tradition.
video

Swing Time

SWING TIME est un espace de jeux interactif composé de 20 balançoires en forme d’anneau lumineux. L’installation active un parc temporaire entre le Boston Convention and Exhibition Center et D Street pour créer un espace public expérimental. Fabrication sur mesure à partir de polypropylène soudé, les balançoires sont conçus en trois tailles différentes de sorte que les spectateurs peuvent participer, le but de l’exercice, est de jouer avec SWING TIME à titre individuel ou en groupe.L’éclairage LED au sein de la balançoire est contrôlé par un micro-contrôleur personnalisé, signalisant le niveau d’activité de la balançoire. Un accéléromètre interne mesure les forces d’accélération de l’oscillation. Lorsque les forces sont statiques et les fluctuations ne sont pas utilisés, ils émettent une lumière douce, blanche qui éclaire la zone. Lorsque les balançoires sont en mouvement, le micro-contrôleur allume la lumière du blanc au violet, en créant un effet lumineux coloré.

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

Cyberia

Performance & live computer generated simulation

A postmodern fairytale, Cyberia takes place somewhere in a cold distant East, stretching between and endless imaginary realm and a vast physical space. It is a westwards journey towards a promised future with no arrival and no return. There is no here or there, only a twilight zone between a departure point and a simulated destination. Between digital video projections and a physical setting, using the mechanics of a video-game engine with a motion capture suit, Cyberia is the simulation of an endless pre-climax state where a performer and a CG avatar dance as one to the rhythms of an imaginary West. In a world oversaturated by digital data –mysticism and paranormal are as popular as ever. Emerging technologies are increasingly incorporated in a form of postmodern spiritualism, as Arthur C. Clarke points out: “Any sufficiently advanced technology is indistinguishable from magic.

Vortexture
Vortexture puts forward an architecture that is agile, activity-based and challenges our ideas of organization and static typologies. Materializing permeant physical form – it is a space that is constant fluctuation. There is no final typicality; it’s an architecture in a process that regenerates and adapts with the change in space and time. Vortexture is a proposal for a new work environment simulated and tested via agent models and developed as a new kind of the urban district as a creative industry hub. Vortetute is time-sensitive. Vortexture is season sensitive. On weekdays, the office orients itself to create a user interface that is productivity-based, while during the weekend, the floor plan reshuffles itself to enhance creativity-based plan allowing more communal areas and meeting zones.

Globale Surveillance
Nous vivons dans un monde sous surveillance : plus personne n’oserait en douter. Mais quelle forme prennent aujourd’hui les nouveaux dispositifs de contrôle et en quoi sont-ils différents des pratiques du siècle dernier ? Comment modifient-ils notre rapport au monde et aux autres ? Vont-ils jusqu’à menacer le droit à la vie privée ? Globale Surveillance dresse une zone spatiale hypersurveillée, à l’intérieur de laquelle acteurs et spectateurs sont soumis à quantité de procédures de traçabilité rendues visibles, a contrario de nombreux mécanismes quotidiennement à l’œuvre et marqués par le phénomène angoissant de l’invisibilité.

维克托里娜米勒
‘I’m interested in creating moments of sensitivity, moments when our defenses are down and we are open to new things. moments of powerful concentration. … I create zones, put forward pictures, show processes that touch the viewer, that invoke associations on various levels, transport people into a different state, so that things hidden may become visible, accessible, opening up possibilities – to demonstrate something that is not said and cannot be said, but that is’.

Where the City Can’t See
Directed by speculative architect Liam Young and written by fiction author Tim Maughan, ‘Where the City Can’t See’ is the world’s first narrative fiction film shot entirely with laser scanners, designed in collaboration with Alexey Marfin. The computer vision systems of driverless cars google maps, urban management systems and CCTV surveillance are now fundamentally reshaping urban experience and the cultures of our city. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vehicles, we see this near future city through the eyes of the robots that manage it. Exploring the subcultures that emerge from these new technologies the film follows a group of young car factory workers across a single night, as they drift through the smart city point clouds in a driverless taxi, searching for a place they know exists but that the map doesn’t show.

zones of flow (ii)
“zones of flow” is a work-in-progress project which investigates the fluid connections between people, sea and land. The piece zones of flow (ii) is an audiovisual artwork created to for the MAN display, which is located in a public area in NTU-Singapore; an open corridor where there is a regular flow of people moving across the space. The piece has come out of a sailing experience across the Atlantic in a 15m sailing boat. The ongoing project explores the instantaneous but sometimes asynchronous connectivity between things and people as they move in and across digito-tangible environments.

object no. 9

Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.

Impacts
If you’ve never seen a Tesla coil in person, it’s a remarkable experience. Purple plasma flashes in unpredictable, wide-reaching bolts. The sound cracks with more fearsomeness than a whip. The air fills with the sterile acridity of ozone. The effect is equal parts frightening and beautiful; this machinery can use enough voltage to carbonize your flesh right down to the bone, yet some self-destructive impulse tells you to look closer. Alexandre Burton plays with this very impulse in his installation, Impacts. The exhibition features several Tesla coils that hang from the ceiling. They fire, not against a cage or predictable grounding surface, but a delicate pane of glass, so the viewer can appreciate the plasma filaments like a framed piece of art or a caged lion.

Ромен Лоран
Ромаин Лаурент
ロマン・ローラン
Comfort Zone
Artist Romain Laurent is a conceptual photographer, director, and everything in between. From high-concept ideas to fresh energetic portraits, his quirky and fantastical perspective is omnipresent.

أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
АНДРЕЙ ТАРКОВСКИЙ
stalker
In the distant future, the protagonist (Alexander Kaidanovsky) works in an unnamed location as a “Stalker” who leads people through the “Zone“, an area in which the normal laws of reality do not apply and remnants of seemingly extraterrestrial activity lie undisturbed among its ruins. The Zone contains a place called the “Room“, said to grant the wishes of anyone who steps inside. The area containing the Zone is shrouded in secrecy, sealed off by the government and surrounded by ominous hazards.
cinema full

IT’S A GAME FOR US
“How do we perceive mistakes and flaws and how important are those for us?” Barbora asks herself. “When a human being experiences and errs, they create a protective immunity for similar upcoming events, which they will, hopefully, solve better. Therefore, through these fashion pieces, I tried to communicate something that disrupts our personal comfort. Although we might not be fans, we need such disruptions because they push our comfort zone further and make us feel better in the long run.” Barbora Kotěšovcová

file festival 2019
‘Tempo: cor’(Time:color) consists of an immersive installation that seeks to modify our experience of time by converting hours into color. A set of chromatic clocks, each set to a different GMT time zone, projects, in a semicircle, the current time in their mathematical and chromatic representations. The conversion between these two forms of time representation is based on an algorithm composed of sinusoidal functions that modulates the RGB colors as a function of the current time, gradually modifying the intensities of blue, green and red throughout the day: at midday yellow predominates, while at four in the afternoon the hour is red; midnight is blue, six o’clock in the morning is green. Side by side, the colors projected by the clocks merge, creating an immersive experience of a continuous and circular time, between the different time zones, that crosses the entire chromatic spectrum. This installation is part of a series of works in which I investigate the relationships between human notations and codes and our experience of space-time, seeking to change the ways we understand it; in this case, visitors immerse themselves in a spatial experience of time that provokes the questioning of notations and perceptions that we usually consider axiomatic. Changing the way we represent time will change our way of experiencing it?

Tornado
“Over the last decade Alÿs made recurrent trips to the highlands south of Mexico City to chase, video camera in hand, the dusty whirls whipped up by the wind in the burnt fields at the end of the dry season. Rumor has it that the genesis of this project was, in fact, a comic quid pro quo: Alÿs overheard a conversation where friends were talking about Don Quixote fighting windmills (in Spanish, molinos de viento), but he understood instead tornadoes (remolinos de viento). As in Cervantes work, Alÿs’s intent to penetrate the peaceful zone in the epicenter of the tornado illustrates a condition where ‘the vanity of the action is paired with the absolute necessity.” Félix Blume

Amorphoustudio’s ‘symbiotic towers’ in Jumeirah Gardens, Dubai consists of a residential, a hotel, and an office tower, connected on the ground level by a double-deck pedestrian shopping plaza. The connecting plaza creates two environments that can be used throughout the different seasons. The first environment, the lower deck, is a lavish green semi-shaded oasis level that is packed with trees and water to provide gathering zones for people during the hot summer season. It is located on the natural landscape level to be accessible to pedestrians from all sides.

彼得·科格勒
Liquid
Peter Kogler`s works belong to the developing “post medial paintings” (Peter Weibl) in the 80`s. Moulded by the new media, these took on the complex form of installations. One of the main questions was the mental relationship between virtual and real space, as well as the perceptive possibilities of connection. The work, which reminds you of chaotic structures and Baroque dimensions, is based on the circularly moment of repetition, that consciously corresponds to the position of kunst Meran (pedestrian zone).

but does it float
The Montreal-based artist has been working in the arcane reaches of analog photography for over 14 years. Through obsessive experimentation, she has developed a method entirely her own, combining additive colour theory and what she calls “a really bastardized version of Ansel Adam’s zone system.” Eaton’s relentless inventiveness and exacting practice have made her one of the most successful Canadian artist-photographers working today. She’s represented by galleries in Montreal, LA, and New York, where she exhibits her work by turns on a bi-annual basis. Viewers and collectors are drawn to the unique tensions in Eaton’s work: the austere minimalism coupled with her daring colors; the hyper-abstraction undercut by a current of playfulness; the defiant impenetrability softened by an aura of warmth.

FILE SAO PAULO 2017
THE FLOOOR
“The Flooor” is a collaborative music instrument and a social meeting place. 36 sensors under a carpet, connected to a music computer mounted under the floor and loudspeakers mounted in the ceiling.
The patterns printed on the carpet invite people to explore different combinations. 6 groups with different instruments, 6 zones in each group. By standing or dancing on different combinations of the 6 zones, 64 different loops can be triggered.

Glowing Red Grenade Pavilion
Annoncé au Musée d’art contemporain de Rome, le concours a appelé des architectes du monde entier à créer un pavillon gonflable qui pourrait être facilement installé ou retiré. La grenade de SITBON insuffle la culture et l’art à pratiquement toutes les zones où elle est transportée, tout en ressemblant à une grenade ornée.

斯宾塞图尼克
سبنسر تونيك
ספנסר טוניק
スペンサーチュニック
СПЕНСЕР ТУНИК
Spencer Tunick, è un artista provocatorio e controverso, noto per le sue fotografie di grandi gruppi di persone nude disposte in formazioni artistiche, spesso in zone urbane[…] Con gli anni il fotografo Dopo aver realizzato foto di nudi in diversi stati americani nell’ambito di un progetto chiamato “’Naked States”, ha iniziato a viaggiare per il mondo immortalando diverse città quali Londra, Lione, Melbourne, Montreal, Caracas, Santiago, Sao Paulo, Buenos Aires, Sydney, Newcastle, Roma e Vienna.

Мартине Фейпеля и Джина Бехамейла
le cercle fermé (détail)
Martine Feipel i Jean Bechameil to autorzy fenomenalnej w swojej prostocie instalacji, która została zaprezentowana na Biennale w Wenecji. Sześciomiesięczna praca zaowocowała aranżacją o bardzo surrealistycznym, sennym charakterze. Kształty prostych, codziennych elementów zostały zaburzone, powykrzywiane jakby straciły swoje stabilne funkcje. Obserwując zdjęcia mamy wrażenie, że coś dziwnego dzieje się z naszym umysłem. Obrazy poruszają się, wykręcają tak jakby miały się rozpaść, zniknąć. Minimalistyczny jest kolor – głównie biały, czysty, delikatny. Całość mocno porusza wyobraźnię i pozostaje w pamięci na dłużej.

Мартине Фейпеля и Джина Бехамейла
Martine Feipel i Jean Bechameil to autorzy fenomenalnej w swojej prostocie instalacji, która została zaprezentowana na Biennale w Wenecji. Sześciomiesięczna praca zaowocowała aranżacją o bardzo surrealistycznym, sennym charakterze. Kształty prostych, codziennych elementów zostały zaburzone, powykrzywiane jakby straciły swoje stabilne funkcje. Obserwując zdjęcia mamy wrażenie, że coś dziwnego dzieje się z naszym umysłem. Obrazy poruszają się, wykręcają tak jakby miały się rozpaść, zniknąć.

Sometimes, no matter how focused you are, you need to step out of the pressure zone and just have fun. That’s precisely what photographer Romain Laurent decided to do when he opted to create an animated portrait of his friends each week. Rather than photographing the stock standard personal portraits you so often see around the web, he decided to experiment with his subjects and animate the bizarre. The result of his work is a series of hilarious and decidedly ludicrous images the traverse the line between nonsensical & strangely hypnotising.

Matieres Sensibles
file festival 

Matières sensibles est une série de sculptures réalisées à partir de feuilles de placage de bois très fines et délicates. Ces feuilles de bois possèdent des zones tactiles sonores distinctes qui suivent les veines naturelles du bois. Nos recherches nous ont permis de développer un processus artistique et technique invisible et délicat. Ce travail minutieux nous donne ainsi la possibilité de composer une partition sonore sensible qui se révèle au contact des différents dessins du bois. Nous avons inventé ce procédé de Bio hacking que nous nommons “marqueterie interactive”.Nos sculptures de bois produisent des sons lorsque que les spectateurs les frôlent. Elles frémissent, ronronnent, crissent… émettent des timbres sonores variés. Nous utilisons ici les sons pour stimuler un comportement gestuel et haptique.Ces sculptures de bois proposent une relation intime et sensorielle entre le bois et le corps du spectateur en révélant une mémoire sonore au contact physique de la matière.Depuis plusieurs années, nous inventons des oeuvres interactives qui mettent en scène les éléments naturels et les corps des spectateurs. Dans cette œuvre, nous utilisons le bois comme une surface interactive sensible. En interprétant cette sensorialité nous rappelons que notre environnement est fait non pas de choses inertes, mais vivantes, réactives. L’énergie électrostatique du corps humain est l’élément déclencheur de cette œuvre. Les zones interactives suivent exactement les veines du bois.
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Ecology and Planning Museums

Entering on the ground level to the ecology museum reveals a projection next to the restaurant and retail areas. an elevator takes guests to the top level where their descent through the three ecologies – earth to cosmos, earth to man, earth to earth – begins, connected through a series of ramps.
the earth to earth exhibit on the bottom floor features a plane that turns clockwise, moving slowly down towards the ocean ecology space appropriately situated under the reflecting pond of the exterior plaza. the earth to earth section contains four outdoor green terraces as temporary exhibit spaces that change with the seasons.The shared public square also marks the entrance to the planning museum where visitors are greeted by a large model of the eco-city and another temporary display area. a multimedia system makes the next sequence of program, the theory and practice zones, come to life with dynamic informative videos, images, and sounds, all located on the second level. mechanical escalators transport guests to the third floor where one-way display is turned into an interactive relationship with the viewer. this is accompanied by a 3D cinema and a restaurant with views out towards the sea. on the top storey one can find the green architecture, landscape and water resources exhibits as well as access to the vegetative roof-scape offering offering unmatched views.

arizone ss11 campaingn

transamorem transmortem
Als sie 2004 zusammen mit Lionel Marchetti meine Hilfe bei der Digitalisierung ihrer Archive annahm, entdeckte ich „Transamoren – Transmortem“. Sofort war ich beeindruckt von der majestätischen Anmut dieses sehr langen Frequenzgewirrs, dieser Reihe von scheinbar unveränderlichen Tönen, deren Variationen von feiner Subtilität sind. “Transamoren – Transmorten” ist als eine der radikalsten Kompositionen von Radigue erkennbar, vergleichbar mit dem ersten “Adnos”, dem Werk, das chronologisch auf “Transamoren – Transmortem” folgt. Sehr wenige Transformationen, eine scheinbare formale Trockenheit, die dann durch das physische Spiel der Frequenzen widerlegt wird, wenn die Hörerin ihren Kopf sanft von rechts nach links dreht, oder noch besser, wenn sich die Hörerin langsam durch den Musikraum bewegt. Beim Bewegen durch Zonen mit bestimmten Frequenzen erfährt der Körper des Hörers lokalisierte Zonen mit niedrigen, mittleren und Höhenfrequenzen, die je nach den akustischen Eigenschaften des Raums variieren. Wie Radigue über „Adnos“ schrieb: „Das Verschieben von Steinen im Flussbett beeinflusst nicht den Wasserlauf, sondern verändert die Art und Weise, wie das Wasser fließt.“ Hier finden wir dieselbe meditative Spannung, die eine friedliche Bewegung durch die Räume vorschlägt, die durch die verschiedenen Frequenzen erzeugt werden, aus denen „Transamoren – Transmortem“ besteht.

Connect, Back to Back
Regine Schumann\’s works live in transparent zones between radiating light and darkness. She works between visible light and inner enlightenment, between sensual dematerialization of space and magical colors. Inspired by the invisible black light, the surfaces of her works send intensely radiating color realities that create a paradox, almost chromatic aura. The color and light produces this ambivalent states which also reflect sculptural qualities.

Landmarks

Landmarks est un projet d’anamorphose lumineuse mise en place dans les paysages vallonnés de la campagne slovène, autour de Maribor. Après avoir choisi dans le paysage un point de vue auquel elle restera fidèle, l’artiste, aidée de son équipe, installe selon des marques préalablement établies des systèmes de miroirs qui réfléchissent les rayons du soleil en direction de l’objectif.
Des formes géométriques diverses et génériques émergent alors d’un banal paysage : rectangle homothétique au cadre de l’image, diagonale joignant les deux extrémités. Les zones réfléchies dans le paysage sont comme autant de zones de résistance ; la lumière du soleil, dans son inclinaison naturelle, est ainsi déviée et par là-même transformée en signal. La relation entre la source de lumière et le photographe devient un dialogue privilégié, dont la lecture n’est possible que depuis le point de vue initialement choisi.

grauzone

QUIET ZONE
via highlike submit

Synthetic Sustainability

Graham Thompson tries to redefine urbanism by proposing urban synthetic hyper structures that sustainably manage urban density, personal space, and communal areas. A fresh graduate from the Bartlett School of Architecture the proposal features undulated surface towers, farming zones, clean energy generating systems, green transportation facilities and recreational areas. The sustainable structure would come along a water depository within barren undeveloped land ready for zoning. The undulating bionic towers of the project would act as urban farming zones that promote local flora and fauna managed by the inhabitants for sustainable growth. These agricultural zones have individual harvesting grids with water filtration and nutrient monitoring systems. The tower canopies are layered with solar recharging zones to harvest solar energy and locally meet power needs. Graham also visualizes eco train stations for green transportation along with green service stations for eco car charging.

OPERA HOUSE IN BUSAN
L’opéra Auditorium a un concept de design pionnier et innovant. Il est aussi flexible et efficace qu’élégamment sculpté. La zone centrale peut tourner autour d’elle-même donc, dans le même espace, il est possible d’avoir un Opéra avec toutes ses exigences, mais aussi des concerts plus intimes et une salle de scène centrée permettant d’avoir un public tout autour.

extase (ecstacy)

L’Extase est un travail ou sculpture et performance sont en symbiose. Encrés en une surface de proportion divine, chaque point de soutient constitue l’empreinte d’une zone érogène de l’artiste. Douze cannes ici sont dédiées à une muse masculine. Se référant à Ste Thérèse du Bernin, Luce de Tetis ainsi soutenue est portée en posture extatique.

克劳斯奥伯迈尔
Ruhrlights- Twilight Zone Duisburg

game zone 2