The Light Pavilion
The Light Pavilion by Lebbeus Woods in collaboration with Christoph a. Kumpusch, in the Raffles City complex in Chengdu, China, by Steven Holl Architects.
.
The Light Pavilion is designed to be an experimental space, one that gives us the opportunity to experience a type of space we haven’t experienced before. Whether it will be a pleasant or unpleasant experience; exciting or dull; uplifting or frightening; inspiring or depressing; worthwhile or a waste of time, it is not determined by the fulfillment of our familiar expectations, never having encountered such a space before. We shall simply have to go into the space and pass through it. That is the most crucial aspect of its experimental nature, and we – its transient inhabitants – are experimentalists.Lebbeus Woods and Christoph a. Kumpusch

DZHUS SS21
Now that sustainable consumption is a more relevant topic than ever, DZHUS has created a collection inspired by the variety of packaging, to draw attention to the importance of recycling. The SS21 designs interpret the visual and structural peculiarities of boxes, packets and wraps of all kinds. Multi-purpose use of clothing has always been crucial to DZHUS, as a revolutionary method to minimise customers’ shopping and diversify their wardrobe at the same time. All pieces from the spring/summer line are transformers, and most garments can be modified into bags in a swift and playful manner.

Contours
Contours proposes a distancing through de-familiarization of what has become concrete by way of image and language. Active contradiction and abstraction are central to the works through a mixture of variables often seen in opposition or as dis-harmonious. Through the presentation of puzzling symbols, both familiar and skewed, a legible illegibility is produced: information being transmitted, but the immediate read obscured and hidden from sight. Through this, current sight-lines are made visible allowing for critical reflection, while simultaneously revealing the flexibility of language and image in order to engender the possibility of alternative understandings of the world: a crucial consideration in context of our contemporary global social and political shifts.
video

جيمس توريل
詹姆斯·特瑞尔
ג’יימס טורל
ジェームズ·タレル
설치작품 제임스 터렐
ДЖЕЙМСА ТАРРЕЛЛА
Gard Blue
James Turrell’s pivotal 1968 work Gard Blue represents a transformative period in his career, marking the crucial juncture when Turrell shifted the viewer’s attention to perception and the phenomenon of light rather than an object. Appearing in a large, box-like room constructed within the Central Court, Gard Blue is a projection of light. The clarity of Gard Blue’s presence is held by a single, arresting color.

Positions of the Unknown
At the very beginning of space exploration the infrastructure to monitor the whole sky was not yet developed. So in order to find out whether foreign countries launched objects, the US government started to train citizens to observe and detect possible artificial satellites. Scattered over the allied world, these amateur scientists played a crucial part in keeping track of all men-made technology orbiting earth, until “Operation Moonwatch” was discontinued in 1975 […] “Positions of the Unknown” locates the current whereabouts of these mysterious objects by simply pointing at them as they revolve around Earth. Missing the legal proof, those unidentified artefacts remain entities of pure speculation, secret companions of us and our planet. Even so they have been sighted several times and their ubiquitous presence is therefore somehow validated, they linger in a state between existence and non-existence. Quadrature’s 52 small machines constantly follow their paths and serve as silent witnesses of the unknown.

terraform 01

“A sense of location within one’s physical space, culture and history plays a crucial role in the creation of my work. While images and ideas often begin with the landscape, I am also drawn to the incorporation of non-art materials (e.g., foam, packing peanuts, bubble wrap and PVC tubes) and the juxtaposition of ambiguous imagery, deliberately subverting viewer’s visual expectations. My work invokes the paradoxical notion of “harmonious conflict” where compositional/conceptual relationship of materials and images are questioned and yet valued.”