Architecture Concepts Created by AI – Can AI Become an Architect?

FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Lukas Radavicius – Architecture Concepts Created by AI: Can AI Become an Architect? – Lithuania

In recent years, artificial intelligence technologies have advanced significantly in the art world, becoming a vital tool for artists in a variety of disciplines, including architecture. Lukas Radavicius has created videos demonstrating the current capabilities of AI in architecture, showcasing innovative designs that offer insights into the potential of AI to shape the future of architecture.

Bio

Lukas Radavicius, born in Kaunas, Lithuania, is a passionate visual artist who began his career in architecture before moving into graphic design and 3D graphics. With a degree in architecture from the Kaunas Academy of Art, he remains active in design-related fields while exploring the fascinating world of AI art in his spare time.

Architecture Concepts Created by AI: Artificial Intelligence Modern Architecture

FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Lukas Radavicius – Architecture Concepts Created by AI: Artificial Intelligence Modern Architecture – Lithuania

In recent years, artificial intelligence technologies have advanced significantly in the art world, becoming a vital tool for artists in a variety of disciplines, including architecture. Lukas Radavicius has created videos demonstrating the current capabilities of AI in architecture, showcasing innovative designs that offer insights into the potential of AI to shape the future of architecture.

Bio

Lukas Radavicius, born in Kaunas, Lithuania, is a passionate visual artist who began his career in architecture before moving into graphic design and 3D graphics. With a degree in architecture from the Kaunas Academy of Art, he remains active in design-related fields while exploring the fascinating world of AI art in his spare time.

Architecture Concepts Created by AI: Architecture Concepts Made by AI

FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Lukas Radavicius – Architecture Concepts Created by AI: Architecture Concepts Made by AI – Lithuania

In recent years, artificial intelligence technologies have advanced significantly in the art world, becoming a vital tool for artists in a variety of disciplines, including architecture. Lukas Radavicius has created videos demonstrating the current capabilities of AI in architecture, showcasing innovative designs that offer insights into the potential of AI to shape the future of architecture.

Bio

Lukas Radavicius, born in Kaunas, Lithuania, is a passionate visual artist who began his career in architecture before moving into graphic design and 3D graphics. With a degree in architecture from the Kaunas Academy of Art, he remains active in design-related fields while exploring the fascinating world of AI art in his spare time.

Audio Responsive Treehouse

FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Hassan Ragab – Audio Responsive Treehouse – United States

This work, created using generative artificial intelligence tools, is part of a broader exploration into discovering architectural forms through the intersection of different media. Potential shapes are generated based on the rhythms and timbres of the Shockone vs. Shockone song Run. The Bloody Beetroots. Factors such as camera movement and dynamics between the interior and exterior of the treehouse contribute to the creative process.

Bio

Hassan Ragab is an interdisciplinary media artist, architect and designer whose work focuses on the synergy between art, architecture, technology and humanity. He uses generative artificial intelligence to create a new visual language, and his work is exhibited globally. Additionally, Hassan writes about the integration of new media into art and design and has been recognized in numerous publications and news outlets.

Flexible Column

“Frei Otto “hesitates to pursue a project unless he is certain that its realization will be temporary enough to not be in man’s way.”
This position indicates a polite anarchism through death. A delicate rebellion against the monumental architectural quest.” Helen Levin

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„Frei Otto „zögert, ein Projekt zu verfolgen, es sei denn, er ist sich sicher, dass seine Realisierung nur vorübergehend genug ist, um dem Menschen nicht im Weg zu stehen.“ Diese Position weist auf einen höflichen Anarchismus durch den Tod hin. Eine zarte Rebellion gegen die monumentale architektonische Suche.” Helen Levin

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«Фрей Отто« не решается продолжать проект, если не уверен, что его реализация будет достаточно временной, чтобы не мешать человеку ». Эта позиция указывает на вежливый анархизм через смерть. Тонкое восстание против монументального архитектурного поиска ». Елена Левин

CAPACITIVE BODY
file festival

The installation “capacitive body” is a modular light system that reacts to the sound of its environment. Each custom-built module consists of an electro-luminescent light wire linked to a piezoelectric sensor and a microcontroller. Through its modular setup it can easily be adapted to various urban spaces. The sensors are used to measure vibrations of architectural solids in a range of low frequencies. These oscillations are triggered by surrounding ambient noise, for example traffic noise. The data sensor controls the light wires, which are tensed to a spatial net structure. According to the values of the measurement, light flashes are generated. With increasing vibrations the time between flashes becomes shorter and shorter. The stability of this nervous system gets to an end where it collapses and restarts again. A dynamic light space is thereby created, which creates a visual feedback of the aural activity around the installation.

AI conceptual architecture

Over the past few months, Hassan Ragab has been posting his Midjourney conceptual architectural work on LinkedIn and is clearly enjoying exploring the nuances of refining the AI output, mixing free flowing architectural styles with biomimicry materials such as feathers and plant structures.

parallaxis
In a new moving-image work by Melbourne-based artist and architect Matthew Bird, two bodies move across the land, working with large cylindrical instruments. We witness them map and survey a terrain analogous to universal physical and psychological locations, each revolution marking a paradoxical attempt to pin an earthly position through perpetual movement. Playing on the human need to understand our relationship to the people and places around us, Parallaxis considers the potential for architectural processes and measurements to act as a foundation for structures of understanding.

Serendiptichord

The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

Active Inlays

Oyler Wu Collaborative approaches architecture with a critical and rigorous intent that challenges the typical vision of the built environment. The office relies on the constant exchange between large architectural proposals and small architectural installations..

SM-4N
Sarah Oppenheimer’s work explores how individual and collective action can shape the spaces we inhabit. A master of architectural manipulations, her work is interactive, psychological, performative, and at its heart, deeply social.

Thermotaxis
file festival
The term “Thermotaxis” signifies a movement of a living organism in response to heat stimulation. A thermal spot has power to encourage people to gather together like open fires in winter or water places in summer. The work “Thermotaxis” characterizes the open space as invisible thermal spots by providing people with thermal information. Our work aims to create a new spatial structure for communication not by architectural approach but by using information technology.

Replica
We begin with a tour of a virtual 3D model of the London house-cum-museum built by 19th-century architect Sir John Soane. The journey traverses the five floors of the museum’s meticulously restored rooms, each filled with original and duplicate fragments of antiquity. Sir John Soane (1753-1837) was one of the foremost British architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. As an enthusiastic collector, later in life he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture. With a collection containing thousands of objects ranging from Ancient Egyptian antiquities and Roman sculpture to models of contemporary buildings, Soane’s house had become a Museum by the time of his death.

光
光正在使用高精度激光在屏幕上绘制连续的抽象形状，并与声音完美同步。强烈的光线与完全的黑暗形成对比，缓慢的动作和微小细节的演化与强而有力的手势一样重要。结果既是古朴的又是未来主义的。新兴的模式为许多可能的解释留出了空间。象形文字，一种未知语言的符号，建筑图纸，数据点之间的连接或类似Tron的早期视频游戏放大了1000倍。

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Light

Light is using high-precision lasers to draw continuous abstract shapes on the screen, perfectly synchronized with the sound. Intense light contrasts with total darkness, and slow movements and the evolution of small details are as important as strong gestures. The result is both quaint and futuristic. Emerging models leave room for many possible explanations. Hieroglyphs, symbols in an unknown language, architectural drawings, connections between data points, or early video games like Tron are magnified 1,000 times.

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Lumière

La lumière utilise des lasers de haute précision pour dessiner des formes abstraites continues sur l’écran, parfaitement synchronisées avec le son. La lumière forte contraste avec l’obscurité totale, le ralenti et l’évolution des petits détails sont aussi importants que les gestes forts. Le résultat est à la fois pittoresque et futuriste. Les modèles émergents laissent place à de nombreuses explications possibles. Les hiéroglyphes, les symboles dans une langue inconnue, les dessins d’architecture, les connexions entre les points de données ou les premiers jeux vidéo comme Tron sont agrandis 1 000 fois.

Micro-Utopia
In response to London’s pressing housing crisis Micro-Utopia proposes a shared, immersive and interactive version of a home, where space is born from the finely-tuned sensorial interplay between the body and virtual/physical objects connected to the Internet of Things. A chair invites us to stay with it for a moment; we crawl through a demanding fireplace; our hands are washed in a bowl of digital liquid – the highly speculative model of domesticity explores the architectural implication of co-inhabiting a minimal physical infrastructure within infinitely bespoke virtual worlds. Drawing on radical art practice, interiors in historical painting and contemporary product design, Micro-Utopia is the dream of a house that is nothing, but the parameters of our perception are triggered through the metaphorical dimension of the objects we interact with on a daily basis.

State Gallery

Like a dancing cube shimmering in titanium, the new State Gallery of Lower Austria is placed between the picturesque inner cities of Krems and Stein, and links these with the surrounding natural and river landscape. The spherical curvature and the strongly outward-projecting external walls presented a challenge: titanium shingles and glass panes were individually produced, having been calculated in 3D. Inside, light-flooded areas alternate with daylight-free levels that can be used as required. The project is a strong illustration of the capabilities of the Vorarlberg architectural practice of Marte.Marte.

Mirage Gstaad
«Mirage Gstaad de Doug Aitken utilise la fréquence de la lumière pour refléter le sublime paysage alpin dans le cadre d’une rencontre en constante évolution dans laquelle la terre et le ciel, le sujet et l’objet, l’intérieur et l’extérieur sont en constante évolution. Contrastant avec le chalet environnant, la structure de style ranch suggère une version architecturale moderne de Manifest Destiny, la migration vers l’ouest qui a commencé en Europe et s’est finalement installée en Californie. Avec chaque surface disponible revêtue de miroir, il absorbe et reflète à la fois le paysage environnant de telle manière que l’extérieur disparaîtra apparemment tout comme l’intérieur entraîne le spectateur dans un kaléidoscope sans fin de lumière et de réflexion.

American Museum of Natural History
Richard Gilder Center for Science, Education, and Innovation
“We uncovered a way to vastly improve visitor circulation and museum functionality, while tapping into the desire for exploration and discovery that is so emblematic of science and also such a big part of being human. Upon entering the space, natural daylight from above and sight lines to various activities inside invite movement through the Central Exhibition Hall on a journey toward deeper understanding. The architectural design grew out of the museum’s mission.” Jeanne Gang

Botanical Pavilion
To realize the ‘Botanical Pavilion’, Kengo Kuma worked alongside Geoff Nees — a melbourne-based artist and curator who has also worked on a number of architectural pavilions. Made in the japanese tradition of wooden architecture, where pieces interlock, held by tension and gravity, the structure at the NGV triennial features a tessellated interior lined with timber collected from trees felled or removed over several years at Melbourne’s royal botanic gardens. Some of the trees used within the architecture pre-date european settlement, while others signal the development of the gardens as a site of scientific research and botanical classification. Prioritizing natural phenomena over scientific order, the botanical species used are color-coded, rather than following any taxonomic order. this approach offers a statement by the designers against the reductive nature of science during the colonial era — a mindset at odds with many indigenous cultural beliefs and knowledge systems.

Mirage Gstaad
“Mirage Gstaad by Doug Aitken uses the frequency of light to reflect the sublime Alpine landscape as part of a continually changing encounter in which land and sky, subject and object, inside and outside are in constant flux. Standing in contrast to the surrounding chalet’s the ranch-style structure suggests a latter-day architectural version of Manifest Destiny, the westward migration that began in Europe and finally settled in California. With every available surface clad in mirror it both absorbs and reflects the landscape around in such ways that the exterior will seemingly disappear just as the interior draws the viewer into a never-ending kaleidoscope of light and reflection.

Lumifoil
Lumifoil is a temporary roof canopy at the Florida International University Paul L. Cejas School of Architecture. Our goal was to introduce a new “intrusion” at the heart of what FIU Architect Bernard Tschumi coined the “red generator,” thereby heeding his call for provocation in the form of an architectural intervention. This proposal responds to Tschumi’s discourse and the building itself might apply to the parametric digital project. Rather than design a canopy that is entirely emergent – a bottom up strategy in which the whole is the sum of its parts, and be definition, disconnected from its environment – we began with an overall form that is derived via a series of projected geometries generated directly from the cut out’s in the building’s envelope. These invisible forms intersect inside the empty container, providing a framework for generating a new surface.

Ghost City
The installation Ghost City is built around a reinterpretation of the set of the famous game GTA V. The spectator is plunged into an environment without any population that disappears as we move closer. It is a meditative and captivating experience. The focus is put on architectural and graphic elements. This virtual universe solicits both the present (the experience of the artwork) and the memory. The disappearance, before our eyes, of this virtual universe feeds the terror that one day all our digital life – ephemeral cloud.

Perpetual (Tropical) Sunshine
Perpetual (Tropical) Sunshine is an architectural, climatic and temporal installation. Thanks to a “screen” composed of several hundred infrared light bulbs, Perpetual (Tropical) Sunshine retransmits the journey and intensity of the sun as perceived on the 23rd parallel south, according to information transmitted live by weather stations all around the Tropic of Capricorn. Perpetual (Tropical) Sunshine thereby creates a displaced architectural space, which confronts the visitor with an abstract form of day and endless summer. It represents the increasingly artificial nature of our environment and suggests a form of “static mobility” or “displaced tropicality”.

Our Colour
Does colour change the way you feel? What does it feel like to be inside a rainbow? For the 2016 edition of the Bristol Biennial British artist Liz West invited visitors to drench themselves in the spectrum. West transformed architectural space and turned colour into an immersive and embodied experience by refracting light through carefully arranged coloured theatre gels. A vivid world was created, exploring human visual perception and how colour affects our emotions and our bodies.

Midtown Flutter
Midtown becomes a flattened, uniform construct for this play of texture, rhythm and interruptions.My installation is inspired by the concept of architectural relief (a technique where the sculpted elements remain attached but raised above the background plane). Audiences experience a gradual shift in the appearance and depth of the installation from a flat image to a three-dimensional view with protruding geometric shapes.

T4T LAB
RADICAL RAUMPLAN
The real but withdrawn qualities of the raumplan of the Muller House can be understood as the unknown excess of the object. This is the space of the architectural project that exists beyond the limits of human cognition. Although this space is finite, it is vast and abundant. Any attempt to enter into this space must be somehow framed. As a metaphor, or a vehicle to frame the unknown excess, we take in part the idea of viewing, which is epistemologically important to the raumplan. Using this framework, our project attempts to go beyond our cognitive limitations and enter into the unknown space of the architectural project. From here, we can extract new spatial phenomena that can be notated into the known layer, to be understood by the architectural audience. For us, this means using a series of metaphors to frame our exploration of the unknown and attempt to extract new phenomena that engage the raumplan independent of its relationship to a human subject. This allows us to operate in a jective framework, allowing for an understanding of the object autonomously.

Cocoon
“Cocoon is a 360° x 220° spherical, immersive video installation we designed, directed and produced in house. Cocoon places the participants inside several shells of abstract and figurative architectural spaces, which slowly peel away. Cocoon believes architecture is not static, but is transitory, evolving and animated. Our city is our cocoon.” Factory Fifteen

دانيال بورين
丹尼尔·布伦
다니엘 뷰렌
ダニエル·ビュラン
ДАНИЭЛЬ БЮРЕН

Daniel Buren a french conceptualist who is well known for his trademark work with stripes is oftentimes referred to as an abstract minimalist.
Challenging the conventional methods of displaying and presenting art, Buren gained notoriety at his first solo exhibition in 1968 when he glued green and white striped materiel to the exterior door of the Apollinaire Gallery in Milan. With a philosophy of reducing art into its more elemental forms while exploring the impact of repetitive motifs, his work with pattern, form and color draws attention to the surrounding environment and architectural framework rather than combating it. Instead of rejecting the environment in which his installations are produced, Buren integrates his art with the space and changes the fundamental nature of the space itself.

Azymut
AZYMUT offers a defragmented and detailed look at the architectural elements and pieces of sky that surround it. A rotating installation of 16 magnifying mirror discs, motorized and synchronized, slowly directs the visitor’s gaze to disjointed elements of the Riva degli Schiavoni and the Palazzo Ducale opposite to the Church of San Giorgio Maggiore.

Between I you I and I me
BETWEEN | YOU | AND | ME is a wall of sound and light. Like any other wall, it defines an architectural space. Given its ephemeral, dynamic media – ultrasound and beams of light – the wall can be perceived only when the visitor comes close and interacts with it. Two thin membranes of light form a visible frame filled with sound. Multichannel, extremely vectored hypersonic speakers render audible various textures of broken glass: a sound architecture within the wall, comprised of juxtaposed single sound beams, whose constellation changes depending on the visitor’s position. Observed from a distance, the wall fades away: clear transparency and only faintly resonant tones attest to its non-existence.

Noumenon
Noumenon is a site-specific large-scale architectural and year-long installation in ZeroSpace, New York City; a compilation of Buyukberber’s last 4 year of audiovisual work and explorations; from emergent systems to out-of-body experiences; from transcendental objects to the symbols of the collective unconscious.

Antrum
The installation looks like a grotto of the membrane, the surface of which is inhabited by strange creatures. It’s complex structure causes association with living creatures, space objects and architectural constructions. In this frontier word pure mathematical abstractions are mixed with natural shapes, resulting in formation of new entities. Viewers can push the membrane and try to contact with them.

NEST

Inspired by Homer’s Odyssey
Loosely based on Homer’s The Odyssey, Marshmallow Laser Feast’s light installation lit the primary performance space within the chapel’s hazy internal dome. Grid-like projections crossed with mobile structures (designed by the architectural practice Studio Weave) as agile bodies crept over, in and through the many lit towers and surfaces. This first act was seen by the audience from the left and right balconies above. The second act, down flights of rope-lined staircases in the concrete basement, was more disorienting, lit only with triangular neon tubing and an eerie glow that seeped from an open door. The style of dance, in keeping with the more rapid and percussive score, by Canadian composer Christopher Mayo and electronic music composer / performer Anna Meredith, confronted the audience and was staged without boundaries dividing the dancers (some of whom were in street clothes) and viewers.

Electric Moon
The large-scale art piece is a new color version of Christopher Bauder’s first large-scale installations, this time specially constructed for the imposing church environment — a setting where an interplay of light and space has been a foundational experience for centuries. For ELECTRIC MOONS, WHITEvoid uses products and technical expertise of Kinetic Lights, featuring and a new RGB version of Kinetic Lights’ helium light Balloon and a modular system made of 36 ground-based Kinetic Lights Winch XS perfectly suited for architectural spaces that require specially tailored schemes such as St. Maria Church.

Remnants

Remnants is an installation, comprised of two individual sculptures, Anatomy and Lacuna, which explores this evolving symbiosis between the mechanical and the biological become. Anatomy and Lacuna are constructed of aluminium, both containing areas of uncertain space. Anatomy contains a plane of black viscous matter and Lacuna, a black void, creating a tension between the two sculptures. The work draws on diagrammatic anatomical and architectural models, distorting scale and hijacking visual languages, creating an undetermined terrain where the purpose of our made objects is undefined.

Architectural Constellation
To intensify the experience of visitors with the particular surrounding, X-Architects imagined “a constellation of architecture strategically placed on the vast terrain”. In fact, using the existing topography, the project puts in place dune shaped units, offering views of sabkhas. Moreover, other elements placed on the highest point of the site, grow vertically like the desert flower Cistanche Tubulosa and propose views towards the stars.

Metabolism _ Invisible Cities
Pierre-Jean Giloux’s first monograph, the publication extends the eponymous video tetralogy inspired by the Japanese utopian architectural movement: Metabolism (1960-70).
The films of the Invisible Cities cycle are portraits of Japanese cities, superimposing filmed and photographed images of everyday, social and urban reality, with virtual images.
The book explores the links in Pierre Jean Giloux’s work that connect four Japanese cities with a rich architectural past (Tokyo, Yokohama, Osaka, Kyoto). This jorney through Japan’s Megapolis traces the history of Japan and ends with the reconstruction of pavilions for the Osaka 70 Universal Exhibition and a virtual proposal for a smart city on the waters of Lake Biwa.
The metabolist utopia to which reference is constantly made in the work of Pierre Jean Giloux played a decisive role in the constitution of post-war Japanese cultural identity and had a notable influence on many contemporary architects.

video

Line Segments Space
An architectural web of threads subtends a null space. It hangs abstract and undefined, a set of thin positive elements segmenting the dark negative space between. Dynamic imaginary forms are articulated into the physical volume by the material of this thread, and the semi-material of the light. The visual gravity of the filaments occupying the space between. A 2D canvas is reduced from a surface piece into a line segment, but then constructed into another dimension, a volume. Light creates contrast and order on the lines to articulate digital matter. Digital forms inhabit the interconnected boundaries of space, becoming incarnate as visual mass.

emotional leak

Dickson combines phenomenology with architecture and digital technology to create sculpture, installation, and performance that considers the emotional and sensorial qualities of spaces. In Emotional Leak (2011) they produced the physical manifestation of a slowly leaking roof. Inspired by water and realized in glass, the resulting form is a black monolithic sculpture, resembling a digital gothic architectural model.

Chijikinkutsu
“Chijikinkutsu” is a coinage, specially created for the title of this work by mingling two Japanese words: “Chijiki” and “Suikinkutsu”.”Chijiki” means geomagnetism: terrestrial magnetic properties that cannot be sensed by the human body but that exists everywhere on earth. Since long before the Age of Discovery, people have traveled with navigation using compasses employing geomagnetism. In recent years, various devises that utilize geomagnetism have even been incorporated into smartphones[…] “Suikinkutsu” is a sound installation for a Japanese traditional garden, invented in the Edo period. The sounds of water drops falling into an earthenware pot buried under a stone wash basin resonate through hollow bamboo utensils. The concept of the work “Chijikinkutsu” does not derive from experimentalism of science and technology on which media arts rely, nor from architectural theory of western music upon which some sound arts lay their foundation. While utilizing the action of geomagnetism normally treated as a subject of science, this sound installation expands the subtle sounds of “Suikinkutsu” in the context of Japanese perspective on Nature.

n-Polytope: Behaviors in Light and Sound after Iannis Xenakis
N_Polytope: Behaviors in Light and Sound After Iannis Xenakis is a spectacular light and sound performance-installation combining cutting edge lighting, lasers, sound, sensing and machine learning software inspired by composer Iannis Xenakis’s radical 1960s- 1970s works named Polytopes (from the Greek ‘poly’, many and ‘topos’, space). As large scale, immersive architectural environments that made the indeterminate and chaotic patterns and behaviour of natural phenomena experiential through the temporal dynamics of light and the spatial dynamics of sound, the Polytopes still to this day are relatively unknown but were far ahead of their time. N_Polytope is based on the attempt to both re-imagine Xenakis’ work with probabilistic/stochastic systems with new techniques as well as to explore how these techniques can exemplify our own historical moment of extreme instability.

Нед Кан
Tornado
A 10-foot tall vortex is formed by air blowers and an ultrasonic fog machine inside a sculpture installed in the atrium adjacent to the Winter Garden. The vortex continually changed shape in response to the surrounding air currents.These fluctuations gave the vortex an erratic and life-like appearance. Viewers were encouraged to alter the shape of the vortex with their hands. The calm, central core of the vortex is clearly evident.
Kahn’s interactive scientific projects leave little doubt about his command of meteorological processes. Through his immense technical ability, he demonstrates the versatility of turbulent systems, such as the vortices of wind and water. He employs diverse mechanical, pneumatic and electrical technologies to design, build and refine his installations. This is how he constructs dazzlingly complex but comprehensible images of nature that respond to viewers, conform to architectural structures, and reveal environmental conditions.

INDUSTRIAL CREEPER

On the site we envision a antagonistic dialogue between the seemingly biologic units and its abiotic architectural foundation. The units find a home intertwined amongst the predictable regularity of the steel configuration remeniscent of a deteriorating and outdated technological era whose remnants can be found scattered across downtown Los Angeles. These old industrial artifacts, derived from sheer function, act as an all too familiar platform by which the occupant interacts with this new synthetic ecological system. Throughout the site, we see the units stretched and twisted in an extraodinary demonstration of elasticity. In this way, the building lingers in a constant state of mediation between the past and the future; succombing to the complex configuration of the aggressive industrial creeper.

다니엘 아샴
ДАНИЭЛЯ АРШАМА
Connecting Time
‘Connecting Time’ is a survey show with works spanning Arsham’s entire career. Included are four at first glance ‘conventional’ architectural interventions that subtly manipulate the physical environment to create surrealistic settings. Fitness gear and objects rooted in pop culture are presented in eroded form as though excavated from some archaeological site, while swaddled animalistic figures recall the work of Christo or Man Ray, but with a playful, childlike twist.

Eduard Galkin presents unusual architectural projects with organic modulations that can develop to infinity as a vine can mold itself to any environment; it is not necessary to have a function or an end just to be able to grow.

Захаров, Вадим Арисович
danaë installation
Drawing from the perpetually revisited myth of Zeus and Danae, an installation by Vadim Zakharov in the Russian pavilion at the Venice Biennale 2013 used consumable objects and the sequence of architectural spaces to make manifest underlying ideas about ‘rudeness, lust, narcissism, demagoguery, falsehood, banality, and greed, cynicism, robbery, speculation, wastefulness, gluttony, seduction, envy, and stupidity.’ the impregation of danae occurs when zeus appears to her as a golden shower after she is locked in a tower to prevent the professed death of her father. gender dynamics and the poetic cycle of gestation are reconstructed spatially with a total use of the pavilion– a first in the history of the building.

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.

ДАНИЭЛЬ ВИДРИК
Tower Study
Daniel Widrig’s studio now works in a broad range of fields including sculpture, fashion, furniture design and architecture. Embracing digital systems since its early days, the studio holds a unique position in the field and is widely considered to be in the vanguard of digital art and design.The Tower Studies examine this same material behaviour on an architectural scale, further blurring the distinction found on a small scale between structure and ornament.

“Science,Fiction”

Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. While her in-depth studies of ecosystems and animal behavior propose observation as a kind of understanding in itself, her ethical position is implicit in the work, which, while subtly political, provides views of the sublime in all its incarnations—stunning, beautiful, and simultaneously terrifying.