La Génération Invisible
La Génération Invisible est une installation dans laquelle Pascal Dombis questionne notre rapport aux images numériques et comment nous les regardons aujourd’hui. Internet génère une profusion d’images qui circulent et qui sont de moins en moins regardées par les humains. Cette installation parle de la disparition des images de par leur circulation et prolifération excessive. Le mur est couvert par un flux de 30 000 images internet entrelacées formant une surface visuelle floue. La nature individuelle de chacune des images peut être décodée par l’utilisation d’une plaque lenticulaire que le visiteur applique directement contre le mur, afin d’en extraire de multiples lectures. Cette installation fait écho au travail de William Burroughs sur le langage et les images en reprenant une phrase d’un de ses livres Cut-Up de 1961 :

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.

Biomatrix
«Biomatrix» est une installation d’extrémités scycles de bulles de cellules éruptives émergeant à la surface de l’huile de silicone liquide. Cette circulation du liquide coloré évoque le comportement du magma ou du sang et, en raison de la viscosité élevée de l’huile de silicium, illustre le mouvement du matériau à une vitesse faussement plus lente que l’attente du spectateur. La piscine à commande électrique devient une interface qui amplifie l’impact visuel et produit à l’infini des motifs cellulaires. Une formation de grille ordonnée apparaît comme une matrice numérique, tandis qu’une observation plus approfondie révèle des irrégularités telles qu’une effervescence sporadique et simultanée et des sons plosifs brisant la tension superficielle.

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

Factory of the sun
In this immersive work, which debuted at the 2015 German Pavilion at the Venice Biennale, Steyerl probes the pleasures and perils of image circulation in a moment defined by the unprecedented global flow of data. Ricocheting between genres—news reportage, documentary film, video games, and internet dance videos—Factory of the Sun uses the motifs of light and acceleration to explore what possibilities are still available for collective resistance when surveillance has become a mundane part of an increasingly virtual world. Factory of the Sun tells the surreal story of workers whose forced moves in a motion capture studio are turned into artificial sunshine.

The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.

Biomatrix
“Biomatrix” is an installation of endles scycles of eruptive cell bubbles emerging on the surface of liquid silicone oil. This circulation of the colored liquid evokes the behaviour of magma or blood, and due to the high viscosity of silicon oil, illustrates the movement of the material at a speed deceptively slower than the viewer’s expectation. The electrically controlled pool becomes an interface that amplifies visual impact, and infinitely produces cell patterns. An orderly grid formation appears as a digital matrix, while closer observation reveals irregularities such as sporadic and simultaneous effervescence and plosive sounds breaking the surface tension.

OPPO’s new headquarters
Four interconnected towers reaching a height of 200m (42 floors), the 185,000 square meters design incorporates two towers of flexible, open-plan spaces linked by a 20-storey vertical lobby, and two external service towers providing vertical circulation.

مورفوسيس المعماريين
モーフォシス建築家
모포 건축가
形态结构建筑师
Cahill Center for Astronomy and Astrophysics
The Cahill Center for Astronomy and Astrophysics at Caltech brings together a dozen different scientific groups into one structure. The Cahill Center designed by Morphosis Architects, Inc. conceptually acts as an astronomical instrument. A vertical volume pierces the building, tilting it open to the skies and resulting in an occupiable telescope. The Center also physically and symbolically connects Caltech’s South Campus with the the original complex of Spanish and Mediterranean buildings that comprise the historic North Campus. A series of interior corridors that run north to south serve as stitches, reinforcing the connection and serving to direct circulation.

ماریکو موری
森万里子
Мори, Марико
Infinite Energy
Redefining the architecture of the espace Louis Vuitton are eight monumental pieces by internationally-renowned japanese artist mariko mori. The exhibition ‘Infinite Review’ amasses sculptures and experiential installations in a series of works that metaphorically reflect the never ending circulation of life and death as well as fragments from the artist’s personal experiences. Towering above visitors and traversing the space between the floor and ceiling are a triptych of luminous spirals. The soaring ‘infinite energy’ series is a visualization of an invisible force, felt and seen through their unseen participation with gallery entrants.

HeLa on Zhora’s coat
Aleksandra Domanović’s work is concerned with the circulation and reception of images and information, particularly as they shift meaning and change register, traversing different contexts and historical circumstances. Her works create strange taxonomies and manic associative chains that poke and prod at copyright laws, unpack the geopolitical implications of web domains, or explore, for instance, the model of exhibitions

Inter – Lock
These units were then arranged on the site and divided into housing spaces as well as circulation and public spaces on the ground floors. The way that the original spatial units interlocked creates outdoor spaces that wrap into the mass of the building, allowing for the circulation of light and air deep into interior spaces.

Orange Cube
Le projet du Cube Orange est conçu comme un « cube » orthogonal, dans lequel les architectes ont découpé un grand vide qui répond aux besoins de lumière, de circulation d’air et de vues. Ce vide perce le bâtiment horizontalement depuis les rives de la Saône vers le haut jusqu’à la terrasse sur le toit.

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

Circulation rouge

L’œuvre de Lionel Estève se situe à la croisée du dessin, de la sculpture et de l ‘installation. L’informel et la fragilité, qui caractérisent ses œuvres, éveillent notre perception d’une réalité infinie en dévoilant un espace palpable, presque tactile. Son travail joue sur l’espace, les couleurs et la perception sensorielle.
Ces œuvres rappellent l’intérêt de l’artiste pour les énergies créatrices et leurs captations.
Artisan, chercheur, Lionel Estève déploie matières, lignes, couleurs dans l’intervalle du perceptible et de l’imperceptible

Endangered Species
Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot’s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the “other” and “elsewhere” in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist’s impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot’s work questions mental resistances and the past’s resonance, whether it be drawn from myth or from reality.

sound-taxi
Le Sound Taxi est équipé d’un microphone qui enregistre le bruit ambiant: le grondement de la circulation, les freins bruyants, les sirènes, les travaux de construction font tous partie du vacarme quotidien de la ville. Un logiciel spécialement conçu et écrit en Max analyse les fréquences de ces bruits et les utilise pour générer une musique unique en temps réel. Le spectre est divisé en 25 bandes de fréquences, comme un égaliseur graphique, ces bandes sont utilisées pour contrôler différents types de sons dans Ableton Live. Par exemple, un faible grondement démarre une ligne de basse ou un fort sifflement déclencherait des salutations, le volume de ce bruit contrôlant le volume de la musique. La musique générée correspond à la dynamique de la rue, les sons changeront et évolueront au fur et à mesure que vous conduisez dans différentes parties de la ville.

jump cushion

Le coussin était l’une des nombreuses « structures événementielles » gonflables conçues comme des interventions sculpturales provocantes dans l’environnement urbain quotidien. Placé dans une rue d’Amsterdam, où il bloquait la circulation, ce gigantesque oreiller moelleux offrait à la fois un spectacle ludique et une incitation à la participation des spectateurs. Une telle œuvre d’art ne concerne pas tant la fabrication d’un objet que la mise en forme d’un événement et d’une « situation d’opportunité » publique.