Achim Menges and Jan Knippers

Maison Fibre

Maison Fiber è un’idea inedita, esposta ed esplorata per immaginare un’alternativa ai metodi di progettazione e costruzione. Qual è il futuro dell’architettura? Come possono gli esseri umani adattarsi e vivere in habitat armoniosi? Una visione sostenibile è stata esposta alla 17. Mostra Internazionale di Architettura – La Biennale di Venezia 2021, un portale futuristico è stato esposto come approccio alternativo alla progettazione e costruzione di futuri spazi abitabili.
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University of Stuttgart, Institute for Computational Design and Construction (ICD) ve Institute of Building Structures and Structural Design (ITKE) tarafından Bienal’in bu seneki temasına yanıt niteliğinde tasarlanan proje, tamamen robotik olarak, lifli yapı elemanlarından üretilmiş bir yaşam birimi.
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Maison Fibre is a novel idea, exhibited and explored to envision an alternative to the methods of design and construction. What is the future of architecture? How can humans adapt and live in harmonious habitats? A sustainable vision was exhibited at the 17th International Architecture Exhibition – La Biennale di Venezia 2021, a futuristic gateway was exposed as an alternative approach to the design and construction of future habitable spaces.

BANDALOOP

100 Northern Ave
You’ve probably never seen anything like this before. Six members of the vertical dance troupe BANDALOOP descended the façade of the new 100 Northern Ave. building commemorating its grand opening at Boston’s Seaport District. The performers are held securely by special rigging allowing them to mesmerize audiences with dynamic physicality and intricate choreography. BANDALOOP honors nature, community, and the human spirit through perspective-bending dance. A pioneer in vertical performance, BANDALOOP seamlessly weaves dynamic physicality, intricate choreography and climbing technology to turn the dance floor on its side. Under the artistic direction of Amelia Rudolph, the work re-imagines dance, activates public spaces, and inspires wonder and imagination in audiences around the world.

FR-EE Fernando Romero Enterprise

فرناندو روميرو
费尔南多·罗梅罗
フェルナンド·ロメロ
페르난도 로메로
Soumaya Museum

Museum buildings tend to be conceived either for maximum functionality – acting as neutral containers for art – or as iconic structures that represent a city at a particular historic moment. The Museo Soumaya was designed as both: a sculptural building that is unique and contemporary, yet one able to house a collection of international paintings, sculptures, and decorative objects dating from the fourteenth century to the present.The exterior of the building is an amorphous shape perceived differently from every angle, reflecting the diversity of the collection inside. The building’s distinctive façade is made of hexagonal aluminum modules facilitating its preservation and durability. The shell is constructed with steel columns of different diameters, each with its own geometry and shape, creating non-linear circulation paths for the visitor. The building encompasses 20,000 square meters of exhibition space divided among five floors, as well as an auditorium, café, offices, gift shop, and multipurpose lobby. The top floor is the largest space in the museum, with its roof suspended from a cantilever that allows in natural daylight.

Alisa Andrasek

This research used stigmergy behaviour, another example of agency-based systems, which could be programmed to be highly adaptive to local data. What is most intriguing and attractive in this case, is contrasting organic aesthetics emerging from algorithms like stigmergy, with its plant like formations, and the hyper-rationalisation and genericity of voxelised geometry. Different resolutions were introduced in the facade panels, by using an octree algorithm. The result is a building skin that from afar looks like a plant, but in close up has almost Minecraft-like aesthetics coming from a multi-resolution voxel field. Organic stigmergy (stígma + ergon) partly plays a role in the distribution of data through the facade field, rather than generating geometry. It leaves its imprint in the density of geometry

JACQUES LESEC & CHRIS MARTIN

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.

Alex Schweder and Ward Shelley

Counterweight project
Tethered to either end of a single rope that goes over the top of this tall thin building, movement in this vertical house for two depends on using the body mass of one’s roommate as a counter weight to aid ascent or slow descent. When one occupant wishes to go up to the kitchen at the top level, the other must go down to the bathroom at the bottom. Between these two rooms are two private sleep / work rooms on levels two and four, and a common room at level three where the ends of the rope meet. Counterweight Roommate was continuously inhabited for five full days of Scope Basel in 2011 by performance-architecture artists Alex Schweder and Ward Shelley, and acquired in 2015 by New York’s Museum of Modern Art.

KIM HOLTERMAND

Кима Холтерманда
קים הולטרמן
Church of the Holy Cross

Kim Høltermand navigates his world as if he’s the last man on Earth. He records built environments, simplifying the buildings and structures that interest him down to their simplest geometric elements. Wrapped in an atmospheric stillness, he removes all signs of passing from his subjects and hints at human intervention without ever allowing us to witness interaction. He leaves only symmetry and form.

Aranda\Lasch

阿兰达\拉希
アランダ\ラッシュ
Primitives

Primitives is an installation that combines the romantic tradition of ruined landscapes with modular fractals. First realized across the entry of the Venice Biennale in 2010, it is comprised of loosely dispersed furniture elements that appear like rock piles, each one unique but formed from the same universal building block. Like microcosms in the distance, the clusters are imagined as islands falling apart and building back up, organizing and eroding at once.

BAUMGARTNER + URIU

Taipei Performing Arts Center
he morphology and shape of the building was designed using sound-waves that were analyzed and transformed into three dimensional vectors. These vectors became the formal and structural framework for the design of the exterior envelope. The building materializes with a metal and glass enclosure that reveals its activities in a variety of scales and angles to the city.

ICD and ITKE Research Pavilion

bionic research pavilion

The Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) of the University of Stuttgart have constructed another bionic research pavilion. The project is part of a successful series of research pavilions which showcase the potential of novel design, simulation and fabrication processes in architecture. The project was planned and constructed within one and a half years by students and researchers within a multi-disciplinary team of architects, engineers and biologists.
The focus of the project is a parallel bottom-up design strategy for the biomimetic investigation of natural fiber composite shells and the development of novel robotic fabrication methods for fiber reinforced polymer structures. The aim was the development of a winding technique for modular, double layered fiber composite structures, which reduces the required formwork to a minimum while maintaining a large degree of geometric freedom. Therefore, functional principles of natural lightweight structures were analyzed and abstracted in cooperation with the University of Tübingen and the Karlsruhe Institute of Technology. Through the development of a custom robotic fabrication method, these principles were transferred into a modular prototype pavilion.

Jeff Carter

Construction N
Often occupying both physical and temporal space, my sculpture has always incorporated both conventional and experimental media, including woodcarving, metalworking, installation, kinetics, microelectronics and video. While it tends to be visually diverse, the friction between object and memory has been at the conceptual core of my sculptural practice since 1994. The images, objects and narratives of a particular place or experience undergo distortions each time they are represented, and it is these forms of abstraction I explore in my sculpture.
Earlier bodies of work have utilized the physical residue of my traveling – the souvenirs, postcards, snapshots and videotapes – as central elements of the sculpture, forcing them to reveal their own inadequacy, disengagement or transformation, to subvert the nostalgic ideal, or to disrupt the usual implications of value and validation in a cultural artifact. In later works I utilize the physicality of scale, motion, and orientation to extend and challenge the conventional representation of landscape. These pieces define specific places as indefinite spatial constructs that complicate the certainty of “being there,” and are part of a larger attempt to relate a fragmented travel narrative through architecture, landscapes and souvenirs.
I have been using IKEA products as raw material for several years, and continue to be interested in extracting conceptual value from it. I am currently exploring the relationship between the Modern avant-garde and contemporary consumer design culture. In my recent work, I attempt to articulate various points of connection and rupture between IKEA and the Bauhaus by constructing scale models of demolished or unrealized buildings by Bauhaus founder Walter Gropius using “hacked” IKEA products such as tables, bookshelves and flooring.

Nieto Sobejano Arquitectos and realities:united

Contemporary Art Centre in Cordoba
BUILDING FAÇADE WITH AN INTEGRATED LIGHT AND MEDIA INSTALLATION

To transform the façade into a light and media display without fundamentally changing its solid appearance as envisioned by Nieto Sobejano turned out to be the biggest challenge in the project. The façade is accordingly designed to deliver a tactile and solid appearance in the daytime while it turns at night into a unique and dynamic communication wall that reacts very specifically to the architecture. The 100-meter façade consists of 1,319 hexagonal, recessed and pre-fabricated “bowls” on different scales. Each of the bowls serves as a reflector for an integrated artificial light source. The intensity of each lamp can be controlled individually, forming a huge irregular low-resolution grey scale display. The thorough immersion of the “pixel-bowls” – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. During the day, the façade shows a three-dimensional landscape with no sign of being a media facade. Additionally, this tectonically modulated surface topography is characterized by a playful composition of light and shadow that constantly changes with the movement of the sun.

ALEXANDER PONOMAREV

الكسندر بونوماريف
АЛЕКСАНДР ПОНОМАРЕВ
A PARALLEL VERTICAL

Chapel Saint Louis, de la Salpetriere, Paris
Installation
Periscope installation with a cable suspension system. Metal, plastic, video optic system, acrylic spheres, sound wave generators.
The keystone artistic project of the Paris Fesitval d’Automne will be realized in September 2007, at the Salpetriere chapel in the center of Paris. A 36-meter periscope hanging from the dome forms a rigid vertical, equipped in the lower part with the head of the periscope with an ocular allows any viewer to look at the Parisian horizon, expanding vision in the spectacular spaces of the cathedral. The real-time video image is broadcast on closed-circuit television to chambers, offices and other buildings attached to the chapel of Salpetriere hospital. The patients, doctors and staff have the opportunity to take in the unexpected view point of the random viewer and peek past the horizon. This project has been organized by the French Ministry of Culture and the Energy of Art Foundation, Moscow

BAUMGARTNER+URIU

Animated Apertures

instead of windows, mouths with green “hair” that sway in the wind. This is the Animated Apertures Housing Tower, a project of the American architecture firm B + U. The fun building appears to have been attacked by carnivorous plants. The residential building will be built in Lima, Peru. Architects Herwig Baumgartner and Scott Uriu, known for the use of new materials, explain that they wanted to “show that architecture can exist between nature and technology”. Therefore, the designs and colors that imitate plants, in a building that looks more like a living organism. The “hairs” of the windows will be made of a special silicone and will move with the wind, giving the impression of being tentacles. The project is also innovative in its structure, because instead of several small windows, it proposes few and large openings. Thus, professionals avoided a regular facade. The building will have 20 floors and 90 car spaces in an underground car park. The coverage will also have a garden and swimming pool for residents.

gordon matta clark

Anarchitecture

splitting house

“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley

ScanLAB

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.

JONATHAN SCHIPPER

Slow room
To bring a life form to a singular lack of motion is to kill it. Museums are repositories of the past. Ideas that lived outside are rendered dead in the careful buildings. Just as dead as the grizzly in the diorama at the Met is the Lichtenstein at the MoMA. The ideas reach a peak and trade their vitality, their life, for an expanded lifespan. The SLOW ROOM was envisioned as an answer to this dilemma… to be in motion to live and die in the museum… to be a part of the system while denying and rejecting the stasis… to embrace the chaos to make the entropy an ally is to understand a fundamental nature of the Universe. SLOW ROOM will live and it will die.

Doug Aitken

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

FUJIKO NAKAYA

中谷芙二子

fog sculptures
ok-offenens kulturhaus linz

In 1970 Nakaya created her first fog sculpture when commissioned by the group Experiments in Art and Technology (E.A.T) to make a work for the Pepsi Pavillion of the Osaka World Exposition. In creating a work of white mist enclosing the building, Nakaya became the first artist to have used fog as a sculptural medium. E.A.T is an organisation devoted to facilitating working relationships between artists and engineers. Nakaya worked with American engineer Thomas Mee to create the fog for her Osaka commission, the technique for which she has continued to use, with minor moderations, for her subsequent fog sculptures since.Whilst Nakaya has also worked in film and video, it is her use of fog for which she is best known. Nakaya has used pure-water fog to create installations, performances, stage-sets and environmental park designs, often collaborating with other artists or with performers, choreographers and composers. Nakaya’s interest in fog has developed from its relation to our visual sense. In a thick fog we become disorientated, frustrated at our inability to see. In this way, Nakaya’s sculptures activate our other senses, to compensate for our loss of sight.

Powerhouse Company

Loop of Wisdom
Architecture studio Powerhouse Company has created a reception building topped with a circular walking trail as part of a development in Chengdu, China. The structures beneath the walking trail will act as a sales pavilion and reception block for the new Unis Chip City development in Chengdu’s Tianfu New District, which is under construction in the southern part of the city. Powerhouse Company connected these two structures with a bright red rooftop walkway, named Loop of Wisdom, which is designed to make the reception block more useable than if it was a standalone building.

FILE LED SHOW Neuroscientific-Installation

ouchhh

FILE FESTIVAL

FILE LED SHOW

saccade

Neuroscientific-Installation
We are invited to São Paulo for our vertical light and sound installation which will transform the facade of São Paulo’s one of the most important architecture which is Fiesp Led Building.
We started this project with the idea that Neuroscience and simultaneous movement of both eyes between two or more phases of fixation in the same direction algorithms, and we transform the high-resolution led screen into a media canvas which transformed into living architecture.

LEAH MEDIN

The Gold Divide
“I visualized The Gold Divide as a transparent wall; a large surface representing emotion and energy. The piece was inspired by my experiences studying abroad in Amsterdam, time spent at Haystack Mountain School of Crafts and the community at Massachusetts College of Art and Design. It was a cumulation of observations and experiences—like riding my bike through the city of Boston and seeing vast construction netting wrapped around buildings. These large surfaces of material triggered my fascination for creating work at an enormous scale. I reflected on process, on how something is made, and was further intrigued by the challenge and symbolism of independently sewing four hundred yards of fabric on a single industrial sewing machine.” Leah Medin

Mark Napier

Mark Napier has been creating artwork exclusively for the Web since 1995. He combines his training as a painter with his expertise as a software developer to create “art interfaces,” software that addresses issues of authority, ownership, and territory in the virtual world.
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smoke
“A symbol of the human desire to monumentalize ideas in physical form, the Empire State Building is a subject of Mark Napier’s artwork in the past four years. This icon of American hegemony is key to exploring shifting structures of power, specifically the transition from steel to software as the medium of power in our time.”Mark Napier

Tomas SARACENO

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
Space elevator / Spark

Black polyester rope, plastic cable ties, metal frame.

Having studied as an architect, Tomas Saraceno incorporates physics, engineering, and aeronautics into his interactive and evolving artistic structures. Using arachnology, or the study of spiders, to create structures that suggest alternative ways of living, he employs tridimensional webs to better understand how unique building blocks create distinct forms. Saraceno places spiders in cubic frames and leaves them to spin webs, rotating the cubes at various intervals to introduce elements of freedom

Tzu-Jung (Dexter) Huang

Meta-prosthesis
‘Meta-prosthesis’ explores the potential of synthesising the natural and artificial to increase the performance of environmental design. Through capitalising on the formal and compositional expressions derived from animalistic attributes, the performance of materials and environment can be enhanced. The project for a theraputic centre has a highly-articulated envelope which is achieved by manipulating the geometry, from the microscale to the macro. This includes: material typology, texture typology, surface typology and building typology. The resultant patterns are informed, generated and tested through computational algorithms and scientific understanding to satisfy different programmatic criteria, regulating the environment.

BREAKFAST

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.

CLOUDS ARCHITECTURE OFFICE

AVATAR X Lab
Il progetto è una partnership tra ANA Holdings Inc. e Japan Aerospace Exploration Agency (JAXA); una parte di AVATAR X, un programma collaborativo per il progresso dell’esplorazione e dello sviluppo dello spazio. ANA e JAXA sono entrambe esperte nel lanciare veicoli nell’atmosfera, la sensazione di sospensione o di “essere nell’aria” è naturale per entrambe le entità. L’AVATAR X Lab Building è progettato come un edificio sospeso che galleggia sopra un cratere simile alla luna. La struttura a più piani galleggia a diciotto metri sopra il fondo del cratere ed è accessibile da un ponte. Quando gli astronauti salgono a bordo di un veicolo spaziale attraversano un ponte; quando saliamo a bordo di un aereo, attraversiamo un ponte a reazione tra il terminal e l’aereo. Questo è il nostro ultimo contatto con un terreno familiare prima di partire per un posto nuovo. L’edificio sospeso incarna questo varco di soglie: dopo aver superato il ponte si viene trasportati in un nuovo luogo, l’AVATAR X Lab Building, dove l’innovazione tecnologica cambierà il modo in cui vediamo il mondo.

Refik Anadol

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

OTA+

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.

Zaha Hadid Architects

Tower C
‘tower C’ by zaha hadid architects within the Shenzhen bay super headquarters base responds to its location at the intersection of the city’s planned north-south green axis and shenzhen’s east-west urban corridor. Connecting directly with its adjacent park and plazas, which transform into a terraced landscape extending upwards within its two towers, the design invites the public into the heart of the building where cultural and leisure attractions are housed in sweeping bridges that tie the towers together and give panoramic views of the city.

Michael Clark

マイケル·クラーク·カンパニー
Come, been and gone

Ballet meets punk, and neither comes out the same. In its highly anticipated first visit to Chicago, the electrifying Michael Clark Company provocatively pays homage to the decadence and unbridled fun of 1970s club culture. British dance iconoclast Michael Clark sets his choreography in come, been and gone to the music of fellow rebel David Bowie, and collaborates with video artist and dance film pioneer Charles Atlas. Clark’s dancers don Bowie-style leather jackets and echo his unique body language, building up to a detonation of jumps and kicks. “Come, been and gone” pulls off a remarkable feat—matching the cool, alien beauty of the singular singer, who makes a cameo appearance here thanks to 1977 film footage of his track “Heroes.”

Leo Villareal

Point Cloud
Point Cloud (ASU) is a newly commissioned artwork by Leo Villareal designed specifically for the ASU Art Museum in the Nelson Fine Arts Center. During his visit to the ASU Art Museum, Villareal was inspired by the museum’s architecture, designed by Antoine Predock in 1987. Villareal used mobile 3D scan technology to map both the inside and outside of the building, creating over 200,000,000 data points. The artist then manipulated the data points with his own custom software to create this public artwork. This is the first time Villareal has used actual data sampled from a location as part of an artwork.

Refik Anadol

WDCH Dreams
The Los Angeles Philharmonic collaborated with media artist Refik Anadol to celebrate our history and explore our future. Using machine learning algorithms, Anadol and his team has developed a unique machine intelligence approach to the LA Phil digital archives – 45 terabytes of data. The results are stunning visualizations for WDCH Dreams, a project that was both a week-long public art installation projected onto the building’s exterior skin (Sept 28 – Oct 6, 2018) and a season-long immersive exhibition inside the building, in the Ira Gershwin Gallery.

geoffrey mann

Cross-fire cutlery detail
The focus of the Past, Present & Future Craft practice commission was to examine the intangible characteristic of the spoken word and investigate the unseen affect of sound upon its inhabited environment.The project centralizes around the context of a domestic argument. In this case the event samples an audio excerpt from the 1999 Sam Mendes Film ‘American Beauty’. The slow building dialogue between the three central characters family dinner climaxes with a sound clash of emotions. The cross-fire of the argument traverses the dinning table but where previously the inanimate everyday objects such as plates, cutlery, teapot etc were unable to express their character, the intensity of the conversation deforms their once static existence into objects of unseen familiarity.The presented sound artifacts each encapsulate a momentary emotion of the argument.

sarah oppenheimer

N-01

The artist creates an unprecedented visuospatial system that transforms the historical museum and its viewers alike.Visitors are kindly invited to touch and move the black metal and glass elements of the artwork.The built environment is inhabited through an array of inputs and outputs. Our bodies set in motion invisible chains of cause and effect. Enter a room: lights turn on. Turn a handle:a door opens. This relay is modulated through system controllers, devices programmed to respond to moving bodies and aural commands. Buried within walls, floors and ceilings, building networks are a black box.

Clap Studio

Mist Installation
An installation designed by Clap for Minsk, Belarus, that was built by volunteers from the city itself. For the concept of this installation Clap starts from the history of Minsk, a city that during the Second World War was devastated. The bombs destroyed 80% of the buildings and the city was not rebuilt until the 1950s. That is why the population of this city remembers these times as something unpleasant and many of them prefer not to talk about it. The design studio starts from a geometric volume that represents in a conceptual way the volume of a building. They imagine that the bombs fall on him destroying it, generating new openings and brand new volumes. These new openings result ingeniously in an entrance and a viewpoint on the top. The destruction gives way to the function generates grandstands, stairs and seats. From the inside, life makes its way in the form of a tree, exceeding the height of the installation itself.

Philip Beesley

Meander
Meander is a large-scale immersive testbed environment constructed within a historic warehouse building at the centre of a residential highrise development in Cambridge, Ontario. The meshwork scaffolds which comprise the testbed are organized as a series of species within an artificial ecosystem, gently flexing and responding to the movement of viewers. Similar to natural environments such as rivers and clouds, large groups of parts pass physical impulses and data signals back and forth, enabling the entire environment to work as an interconnected whole. The innovations in Meander suggest ways of making adaptive, sensitive buildings of the future.

Marnix de Nijs

Lost Dimension
Lost Dimension Non-dimensional Cities is an immersive cinematic experience in which participants journey through an endlessly unfolding virtual cityscape that expands over all axes. This dimensionless cityscape is constructed from a large collection of point clouds and sounds. While the user is standing on the controller pod and navigates through this virtual world, a sense of physical instability takes over and the platform becomes an anchor to hold on to. The building blocks of the world are generated from depth map information and panoramic photographs obtained from Google Street View’s API. Depending on the user’s position in the virtual world these blocks are dynamically repositioned on a three-dimensional grid. By subtle manipulation of motion and sound, perspective distortion and shifts in balance Lost Dimension unquestionably re-calibrates the viewer’s perception of dimensionality.

Doug Rosman

Self-contained II
A neural network, trained to see the world as variations of the artist’s body, enacts a process of algorithmic interpretation that contends with a body as a subject of multiplicity. After training on over 30,000 images of the artist, this neural network synthesizes surreal humanoid figures unconstrained by physics, biology and time; figures that are simultaneously one and many. The choice of costumes and the movements performed by the artist to generate the training images were specifically formulated to optimize the legibility of the artist within this computational system. self-contained explores the algorithmic shaping of our bodies, attempting to answer the question: how does one represent themselves in a data set? Building on the first iteration of the series, the synthetic figures in self-contained II proliferate to the point of literally exploding. Through the arc of self-contained II, this body that grows, multiples, and dissolves never ceases to be more than a single body.

Clouds Architecture Office

AVATAR X Lab
The project is a partnership between ANA Holdings Inc. and Japan Aerospace Exploration Agency (JAXA); a part of AVATAR X, a collaborative program for the advancement of space exploration and development. ANA and JAXA are both experts at launching vehicles into the atmosphere, the feeling of suspension or ‘being in the air’ is natural for both entities. The AVATAR X Lab Building is designed as a suspended building floating above a moon-like crater. The multi-story structure floats eighteen meters above the crater bottom, and is accessible by a bridge. When astronauts board a spacecraft they cross a bridge; when we board a plane we walk across a jet bridge between the terminal and airplane. This is our last contact with familiar ground before taking off for someplace new. The suspended building embodies this crossing of thresholds: after passing over the bridge you are transported to a new place, the AVATAR X Lab Building, where technological innovation will change how we see the world.

NOIZ

SHIBUYA HYPER CAST. 2
Shibuya Hyper CAST. 2 is a showcase of most cutting-edge urban innovations combined into one building. Shibuya CAST., an existing development designed by noiz, has been an urban lab of mixed function and culture located in the middle of one of the hottest areas in Tokyo. This hypothetical project has started for the 5-year memorial celebration of the CAST., to project future possibility of the building, the area, our society, and potentially a form of future city. It demonstrates how cities of the future could be structured and operated. The project is based on urban studies in the area of mobility, social welfare, administration, funding, security, sustainability and more. Shibuya Hyper CAST. 2 translates the best features of vibrant downtown districts into vertical language of ever-growing cities of the future.

Behin Ha

TOGETHER APART BILLUND
Together Apart Billund consists of 375 coated mesh fabric ribbons stretched between the roofline of the Billund community building and the ground. Connected to the ground along an undulating line that curves in on itself, the ribbons create a series of cellular spaces. While the surface generated by the ribbons separates the individual spaces, its porosity provides visual interconnectivity between them. With the top and bottom anchoring patterns aligned symmetrically to the building facade, the installation is situated to have an axial relationship with surrounding buildings. The interplay between the linear top anchor positions and curved ground anchor pattern gives rise to differentiated and complex conditions of visual overlap, density, and transparency. The bright orange color of the installation creates a focal point and invites curious passers-by to interact with the work.

Roman Ermakov

Роман Ермаков
live sculpture

Our perception — the only true reality. Creation as a feeling that generates the image, expressed in the form. Beauty manifesto calling to go beyond that limit imagination. The aesthetics of art can not be reduced to a clear set of building blocks with which you can strengthen or weaken the perception of contrast. Beauty should not be subjected to analysis, that is communication and the call to participate in the transformation of the emotional to the visible.The process of creating — is the alignment of the mosaic, many repetitions of simple and pure elements, which form a collection, harmonious in its incompleteness.

TOMÁS SARACENO

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
SOLAR BELL
Inspired by Alexander Graham Bell’s lesser-known experiments with flight behavior of tetrahedrons, Berlin-based artist Tomas Saraceno developed Solar Bell – a lightweight, wind and solar powered, sculpture that plays with the concept of flying buildings.

Roman Ermakov

Alchemy 3

Our perception — the only true reality. Creation as a feeling that generates the image, expressed in the form. Beauty manifesto calling to go beyond that limit imagination. The aesthetics of art can not be reduced to a clear set of building blocks with which you can strengthen or weaken the perception of contrast. Beauty should not be subjected to analysis, that is communication and the call to participate in the transformation of the emotional to the visible.

Skylar Tibbits

Aerial Assemblies
Self-Assembly is a process by which disordered parts build an ordered structure through local interaction. We have demonstrated that this phenomenon is scale-independent and can be utilized for self-constructing and manufacturing systems at nearly every scale. We have also identified the key ingredients for self-assembly as a simple set of responsive building blocks, energy and interactions that can be designed within nearly every material and machining process available. Self-assembly promises to enable breakthroughs across every applications of biology, material science, software, robotics, manufacturing, transportation, infrastructure, construction, the arts, and even space exploration.

Katharina Grosse

It Wasn’t Us

A painting by Katharina Grosse can appear anywhere. Her large-scale works are multi-dimensional pictorial worlds in which splendid color sweeps across walls, ceilings, objects, and even entire buildings and landscapes. For the exhibition “It Wasn’t Us” the artist has transformed the Historic Hall of Hamburger Bahnhof – Museum für Gegenwart – Berlin as well as the outdoor space behind the building, into an expansive painting which radically destabilises the existing order of the museum architecture.

marleen sleeuwits

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.

Precht

Bert
“We are fully aware that architecture is this serious and profound craft with a long culture and tradition. You see that when we architects find reference for our projects in art, philosophy, literature or nature. For this project, we also looked at art to find reference. But not at Michaelangelo or Dali. Rather we looked at cartoon characters of Sesame Street or Minions. We took a playful look at this project and wanted to create a rather unique character than a conventional building. A quirky looking character that becomes part of the wildlife of a forest. I think this quirkiness can create feelings and emotions. And maybe these are attributes in architecture that are missing these days.”

Ann Veronica Janssens

Bleu Red Yellow
Born in 1956 in Folkstone (England), lives and works in Brussels. Photography, video, sculptures, installations. Ann Veronica Janssens stepped into the public area with her installations, which find their roots in minimalist art. She constructs rooms and sculptures with simple building materials, above all making allowance for all aspects of the light, thus appearing as ephemeral. Clear, geometric forms are a dominant feature of her sculptural work.

ADAM FERRISS

“Adam Ferriss is one of those technologically-minded creatives who is able to put his ever-growing knowledge of code and processing to use building aesthetically wondrous digital art for the rest of us to enjoy. His images make me feel like I’ve just taken some psychedelics and stepped into one of those crazy houses you get in funfairs, where there are giant optical illusions on every wall and the floor keeps moving under your feet, except these are made using algorithms and coding frameworks […]”

simon colton

The Painting Fool

The Painting Fool is software that we hope will one day be taken seriously as a creative artist in its own right. This aim is being pursued as an Artificial Intelligence (AI) project, with the hope that the technical difficulties overcome along the way will lead to new and improved generic AI techniques. It is also being pursued as a sociological project, where the effect of software which might be deemed as creative is tested in the art world and the wider public. In this chapter, we summarise our progress so far in The Painting Fool project. To do this, we first compare and contrast The Painting Fool with software of a similar nature arising from AI and graphics projects. We follow this with a discussion of the guiding principles from Computational Creativity research that we adhere to in building the software.

Vitor Freire

Projeto IJO
FILE SAO PAULO 2015 FILE LED SHOW
“IJO” means dance in Yoruba. The project was born inside a series of actions with the objective of reframing the place of dance and a re-appropriation of the public spaces. Adapted to FILE FESTIVAL, the project unfolds its initial ambition, painting the walls and buildings of the city with dancing. By positioning themselves in front of “IJO”, the participants will have a visual representation of their bodies exhibited in real time on the FIESP building. Dance to tell who you are.

Renzo Piano

The New Pathe Foundation Headquarters
Renzo Piano Building Workshop designed the organic creature” in the courtyard of a 19th-century block to house the new headquarters of the Fondation Jérôme Seydoux-Pathé – dedicated to preserving the history of French film company Pathé and promoting cinematography.
The egg-shaped form connects to the surrounding Haussmann-era buildings at four points. Its form curves away from the existing buildings and its top peeks over the roofline.

nieto sobejano

The Contemporary Art Center in Córdoba is not a centralized building: the center moves from one space to another, it is everywhere. It is configured as a sequence of precincts linked to a public space, onto which all the different functions of the building flow. Conceived as a place for interaction, it is a common space in which one can express and exchange ideas, see an installation, access exhibitions, visit the cafeteria, spend time in the media library, wait for a performance to begin in the black box, or maybe simply look out onto the Guadalquivir River. The materials help to achieve the art factory character pervading the entire project. In the interior, bare walls, slabs of concrete, and continuous paved flooring establish a spatial structure susceptible to being transformed individually through different interventions. A network of electric, digital, audiovisual, and lighting infrastructures ease access to sockets and connections throughout the building. On the exterior, the building asserts its presence by means of a single material: prefabricated concrete fiberglass panels, or GRC.

CLAUDIA COMTE

HOW TO GROW AND STILL STAY THE SAME SHAPE
If Comte’s sculptures are rooted in the naturalness of biomorphic forms, her mural interventions transform surfaces into optical sequences and infinite graphic signs with a digital age aesthetic. The monochromatic vocabulary that invests all her work brings her visually close to the abstraction of Sol LeWitt, Bridget Riley and even John Armleder, an artist with whom she studied. On the occasion of her exhibition at Castello di Rivoli, Comte has carried out a gigantic mural intervention consisting of eleven individual wall paintings specially designed for the galleries on the third floor of the historic residence. Also inspired by some eighteenth-century decorative motifs present on the ceilings and walls of the main museum building, the work develops repeated modules through space.

Antonio Pio Saracino

INFINITUM
INFINITUM is an immersive art – architectural installation presented at the Sharjah Art Museum on the occasion of the Islamic Arts Festival 2019/20, 22nd Edition. Arches are typical in Mosques’ design. […] Islamic Arches buildings are typically constructed of stone, wood being rarer in the original Middle Eastern homelands of the Umayyads. The rows of Columns and Arches give a visual impression of limitless space, as a metaphor of the progress for human civilization, maximizing spiritual symbolism and visual appeal – progressing towards an ideal civilization. It refers to centuries of human civilization and the creation of prospective in social spaces and the openness to open possibilities of human life.

YANOBE KENJI

ヤノベケンジ
mythos

This exhibition place used to be an electric power plant. Yanobe will transform this abandoned building into the “future” place by creating a story and put it as an installation. In the “discharge” part, Yanobe set up a Tesla coil, which will generate an artificial thunderstorm and expressed as if the electric power plant revives.

Anarchy Dance Theatre

الفوضى الرقص المسرح
תיאטרון מחול אנרכיה
アナーキーダンスシアター
무정부 댄스 극장
Seventh Sense
Seventh Sense is the collaborative project between Anarchy Dance Theatre and Ultra Combos focusing on building up a new viewer centered performance venue. In this space all movements including the dancers’ and audience’s can be detected and interact with each other through visual effect. The audience is not merely watching the show but actively participating in it. Seventh Sense combines new media and dance to present a wonderful space atmosphere. The elements of interaction, theater and dance are rubbed in to a successful balance. by Sakai Naoki.
Photographer: Shou-cheng LIN

JKMM

Amos Rex Museum
Amos Rex rethinks the urban park as part of our museum experience. Its structure is built with large concrete domes. This principle is very functional for museum use: it allows long column-free spans and flexible exhibition spaces. The domes contain skylights that introduce natural light into the galleries below as well as carefully selected views of life above. At street level, a new urban square has been created with a unique identity. The domes form an undulating landscape for people to enjoy, especially children. The Lasipalatsi building was restored respecting its valuable 1930´s Functionalist era interiors and details.