وكامبانا الاخوة
坎帕纳兄弟
האחים קמפנה
カンパーナ兄弟
БРАТЬЕВ КАМПАНА
Campanas/Woods

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FERNANDO CAMPANA
HOMAGE
R.I.P
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Inspired by Brazilian street life and carnival culture, brothers FERNANDO AND HUMBERTO CAMPANA combine found objects – such as scrap wood and scrap fabric – with advanced technologies to create a vibrant, energetic and definitely Brazilian approach to design.
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Die Brüder FERNANDO UND HUMBERTO CAMPANA lassen sich vom brasilianischen Straßenleben und der Karnevalskultur inspirieren und kombinieren gefundene Objekte – wie Holzreste und Stoffreste – mit fortschrittlichen Technologien, um einen lebendigen, energischen und definitiv brasilianischen Designansatz zu schaffen.
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Inspirados na vida de rua brasileira e na cultura carnavalesca, os irmãos FERNANDO E HUMBERTO CAMPANA combinam objetos encontrados – como sucata de madeira e sucata de tecido – com tecnologias avançadas para criar uma abordagem vibrante, energética e definitivamente brasileira ao design.

태양의 공장
2015년 베니스 비엔날레 독일관에서 데뷔한 이 몰입형 작품에서 슈타이얼은 전례 없는 글로벌 데이터 흐름으로 정의되는 순간에 이미지 순환의 즐거움과 위험을 탐구합니다. 뉴스 보도, 다큐멘터리 영화, 비디오 게임, 인터넷 댄스 비디오 등 장르 간 충돌 – 태양의 공장은 빛과 가속을 모티브로 감시가 점점 더 가상의 일상적인 부분이 되었을 때 집단 저항에 여전히 사용할 수 있는 가능성을 탐구합니다. 세계. 태양의 공장은 모션 캡처 스튜디오의 강제 이동이 인공 햇빛으로 변하는 노동자의 초현실적 인 이야기를 전합니다.
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Fábrica del sol
En este trabajo inmersivo, que debutó en el Pabellón Alemán de 2015 en la Bienal de Venecia, Steyerl explora los placeres y peligros de la circulación de imágenes en un momento definido por el flujo global de datos sin precedentes. Rebotando entre géneros (reportajes de noticias, películas documentales, videojuegos y videos de baile en Internet), Factory of the Sun utiliza los motivos de la luz y la aceleración para explorar qué posibilidades están todavía disponibles para la resistencia colectiva cuando la vigilancia se ha convertido en una parte mundana de una realidad cada vez más virtual. mundo. Factory of the Sun cuenta la historia surrealista de trabajadores cuyos movimientos forzados en un estudio de captura de movimiento se convierten en luz solar artificial.

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

ايسي مياكي
איסי מיקים
イッセイミヤケ
이세이 미야케
HOMME PLISSÉ

Im Zentrum von Miyakes Philosophie der Kleidung steht die Idee, ein Kleidungsstück aus einem Stück Stoff zu kreieren. und die Erforschung des Raumes zwischen dem menschlichen Körper und dem Gewebe, das ihn bedeckt. Sein Fokus auf Design war immer, ein ausgewogenes Verhältnis zwischen Tradition und Innovation aufrechtzuerhalten: handgefertigte und neue Technologie. FOLDING BITTE wurde 1993 geboren und ist eine radikale, aber äußerst praktische Form zeitgenössischer Kleidung: Sie kombiniert eine alte Idee, eine dreidimensionale Figur mit zweidimensionalem Material unter Verwendung von Falten zu verbinden, mit neuer Technologie, Funktionalität und Schönheit . 1998 kehrte Miyake zu seiner ursprünglichen Liebe zur Forschung und Erforschung zurück und startete mit dem Mitarbeiter Dai Fujiwara ein neues Projekt namens A-POC (One Piece of Fabric). Durch die Erforschung der Möglichkeiten zwischen Kreativität und digitaler Technologie hinterfragt Miyake die traditionellen Methoden, mit denen wir Dinge tun.

cellule No. 5
Absalon’s best known works, the Cellules, rewrite Cezanne’s “treat nature as the cylinder, the sphere and the cone” to read “treat architecture as the cell, the bunker and the turret.” Not that the Cellules are straightforwardly architecture: they equally evoke Minimalist sculpture, Matt Mullican’s maquettes, Kurt Schwitters’ Merzbauen and the Concrete sculptures of George Vantongerloo. But the model that the Cellules most overtly evoke is the monastic cell. The Cellules were fabricated in wood, cardboard and plaster, and painted entirely white; their average proportions are roughly those of a caravan, and the catalogue informs us that there is always an area in which one can stand up. Their interiors are fitted–fitted rather than furnished–with unobtrusive minimal representations of desks, seats, beds, etc.

A Bullet from a Shooting Star
Alex Chinneck nació en 1984 y es graduado del Chelsea College of Art y diseño. Más recientemente fue nominado para concesión de becas de la Royal British sociedad de escultores. Usando métodos contemporáneos de fabricación, Chinneck encuentra aplicaciones nuevas y ambiciosas para materiales de construcción cotidianos, los saca de su contexto funcional para crear instalaciones lúdicas. Creando trabajo que es indiferente a las disciplinas creativas sus esculturas e instalaciones conviven a través de los reinos de arte, diseño y arquitectura.

Up Sticks
‘Up-Sticks’ is an informal turn of phrase dating back to at least the 19th Century to express leaving your home in haste. It is thought to originate from the rough cut, unseasoned timber frame architecture of the Scottish croft designed for temporary occupation. These sticks from which the croft was partly fabricated were of great value and were taken and reused when the household moved on. Up-Sticks is an expressive timber structure that twists and curves using only spruce wood planks and beech wood dowels. No glue or nails were used to hold the planks in space; it is the hygroscopic behaviour of the dowels, which shrink and swell according to their moisture content, and their computationally defined position that lock all planks into position. Up-Sticks was assembled from large elements all prefabricated in the Robotic Fabrication Laboratory at ETH Zurich, the largest of its kind in the world.

bow chair
designed by Zaha Hadid Architects, Ross Lovegrove and Daniel Widrig

Olly has his whole life ahead of him, whether that means forging a career as an artist or designer or maybe even both. For now, though he’s focusing on fashion with a foundation course at CSM. “I love making things,” he says. “I think you can tell a lot of stories with clothes. Right now I wouldn’t say my style is quite there yet, as I’m only beginning, but I’ve been doing some quite experimental stuff, exploring unconventional shapes and fabrics. I like to toy with stereotypes.” He pauses. “I’m just doing what I want and what feels right to me.”

geist.xyz
A synthetic ghost shifts simulated textiles from passive matter to live organisms. They behave like apparitions in an artificial choreography, with movements that are imaginary yet familiar. Like a constant metamorphosis, the same sequence gets transformed over and over again. At each step, all aspects of the designs are modified, from algorithmic pattern to color scheme to fabric behaviour. The results are meandering layers of style changes. A linear montage shows the intricate details. Shuffled layers of metronomic sounds emphasize the transformation fluctuating in and out of sync.

airmorphologies

Neri Oxman: Material Ecology

Vespers

“Vespers is a collection of 15 3-D-printed masks that explore the idea of designing with live biological materials. The collection consists of three distinct series, each reinterpreting the concept of the death mask—traditionally a wax or plaster impression of a corpse’s face. Taken as a whole, the three series form a narrative arc from death to rebirth. In the first series, Oxman and The Mediated Matter Group looked at the death mask as a cultural artifact. Fabricated using an algorithm that deconstructed polyhedral meshes into subdivided surfaces, the masks were 3-D printed with photopolymers, as well as with bismuth, silver, and gold, and rendered in color combinations that recur in religious practices around the world.” Rachel Morón

Reflected Roof
A series of fans gently shape the textile into a sequence of changing forms that although programmed will never exactly repeat. The daylight, cast from above, falls onto and through the fabric and as it’s angle changes throughout the day creates ever changes in colour, shadow and reflection.

Central Saint Martins MA Autumn/Winter 2018

“Liam Johnson opened the show in similar style, although his rigidly hemmed dresses, the stretch fabric of which framed the models’ bodies like gazebos, were rooted in something more transferrable to reality”. Anders Christian Madsen

Haute Couture Busts
Emmanuel Bossuet é um diretor de arte francês que trabalha com obras decorativas e intensas, recentemente ele realizou um projeto em parceria com a “Stockman” marca famosa que fabrica clássicos manequins desde 1867. A intenção do artista era clara: utilizar as formas clássicas dos manequins como um suporte virgem para imagens em preto e branco, inspiradas em caleidoscópios, colocando em valor tanto o mundo da moda, como o design.

ДИДЬЕ ФАУСТИНО
דידייה פאוסטינו
ディディエ·ファウスティーノ
迪迪埃·福斯蒂诺
ASSWALL
Born in 1968, Didier Faustino lives and works between Paris and Lisbon. Faustino’s work reciprocally summons up art from architecture and architecture from art, indistinctly using genres in a way that summarizes an ethical and political attitude about the conditions for constructing a place in the socio-cultural fabric of the city. Spaces, buildings and objects show themselves to be platforms for the intersection of the individual body and the collective body in their use.

计文于-朱卫兵
Up the Mountain/Down the Mountain
Soft installation is artistic language adopted by JI Wenyu and ZHU Weibing who employ fabric like cloth, silk and cotton for countless changes and possibilities. Seemingly gentile and nonaggressive, however, material of these types equips the artists with unique power. Their works cover themes like social structure and humanity and all sorts of statuses. It took them three years to complete Climbing up the Mountain, Climbing down the Mountain. Composed of 888 figures climbing up and down the mountains respectively.

Flagship Dior
“I wanted the building to represent Dior and to reflect Christian Dior’s work. So I wanted the surfaces to flow, like the couturier’s soft, woven white cotton fabric. These surfaces, which soar into the sky and undulate as if in motion, crossed by a few lines, are made from long moulded fiber glass shells, fitted together with aircraft precision.”more…

Temporary Encampment (Five Blue Solids)

The precarious installations of Nina Canell (born 1979 in Växjö, Sweden, lives and works in Berlin, Germany) could be read as essays on changeability and uncertainty. Hinged upon a fabric of electromagnetics, her communities of objects quietly interact with each other through modest arrangements, balancing careful ambitions to sustain certain frequencies, movements or altitudes. Electrical debris, wires and neon gas establish temporary, almost performative sculptural unions with natural findings such as water, wood or stones, yielding open-ended moments of synchronicity. An improvisational methodology and a flexibility of form highlight Canell’s quest for sculpture, which exists somewhere in between the material and the immaterial, forming and questioning the conductive relations between solid objects and mental events.
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Дэйв Коул
the music box

‘the music box’, a monumental sculptural piece commissioned by the cleveland institute of art and developed in partnership with ohio CAT, sees the american artist dismantling a 22, 000 lb steamroller in which he refabricates more than 80% of the machine–though still maintaining its identifiable physical qualities–transforming it into a fully functioning musical box, and at a fraction of its original weight.
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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.