DIMENSION
Mamoru Hosoda collaborated with Morinaga to create this great collection film. It begins with the formation of the clothes as Morinaga designed them, not through cut and drape but via cut and paste, and we see the garments as digital toiles made up of fractal contours true to the representation of futuristic facades stretching back to Metropolis and Tron. Then the dresses form more tangibly, but still in 2D, filling those vectored spaces with the angled jigsaw of reclaimed denim, chino cotton, and gabardine, plus reflective material (all seamlessly bonded) from which they are made. It slowly becomes kind of clear that we are seeing a fashion show in U, the virtual world which Belle’s heroine inhabits—and that it is also being streamed on U’s equivalent of YouTube. There are rooms within rooms within rooms.

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仮想世界は二次元。非日常の世界。現実世界は三次元。日常の世界。仮想とは、現実にはない世界を仮にあるものとして考えてみること。現実とは、事実として目の前にあらわれている世界そのもの。2022年春夏コレクション「DIMENSION」は二次元と三次元を越境する。画面の中の世界は二次元。細田守監督最新作「竜とそばかすの姫」のアニメーションの世界。劇中に存在する仮想空間’’Ｕ’’でコレクションが幕を開ける。CGアバターモデルが、宙に浮くガラスのランウェイを歩く。画面の外の世界は現実。‘’U’’が投影された真っ白な空間を、実在のモデルが歩く。コロナ禍がもたらしたデジタルのファッションショーは、軽々と世界の距離を縮め、すべてをフラットにした。画面の中では、立体と平面の区別はなくフラット。画面の中と外の境界もまた、消えていく。画面の外で纏うだけでなく、画面の中でも纏うことができる。

Chess Auto-Creative (Self-Replicating)
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‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.

FILE SAO PAULO 2019

The Heart Chamber Orchestra
File Festival – Hipersonica 

In the TERMINALBEACH Heart Chamber Orchestra (made up of artists Erich Berger and Peter Vatava), twelve musicians played pieces from the heartbeat, recorded by an electrocardiogram from data sent by sensors placed on their bodies. As the live score created in real time from the physical and emotional states of the musicians, their beats further influenced the resulting musical composition. In this way, the biological feedback loop becomes a self-generating, organic and evolving system, which creates a musical score and a show that adopts the form of open or network art, in which chance and interdependence, thus how emotional changes and computational reasoning create a biological and psychological dynamic at the same time.

Fanscreen
Fanscreen is comprised of several panels made up of computer fans which are linked together to form a larger ‘screen’. These screens are arranged side-by-side in a large circle that the viewer can enter. Each fan is programmed independently, creating an effect that mimics individual “pixels” on a larger screen. Moving in synchronicity, the programmed fans produce a kind of “film” of various abstract movements.

Wall
Riccardo Blumer Atelier worked with a team of students to create this machine on show at the Venice Architecture Biennale, which is programmed to build and repair an 11-metre-long bubble wall. The robotic installation, called Wall, is designed to highlight the limitations of physical boundaries. It is programmed to fulfil one goal: maintain a complete wall-like structure made up of eleven bubble-like segments for as long as possible.

The Movement of Air

A frontal show for three dancers evolving in an immersive environment made up of images projected, generated and animated live. A show where two impossible ones come together: the body that flies, thanks to suspension devices and the body that fits into the image. An acrobatic and digital choreographic writing which outlines a body language opening onto other relationships to time, space and the world. Beyond the search for technical prowess, it is that of a dreamlike movement and writing through images.

Chess Auto-Creative (Self-Replicating )
‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.

FILE SAO PAULO 2019

阿兰达\拉希
アランダ\ラッシュ
Railing Lounge Chair
Railing is an exploration of structural modular loops that are upholstered like handle-grips to become furniture. Each piece of furniture is a single loop made up of many circles. Here, the circle does not display the qualities it is most known for, but it is what a circle can be. It is not whole or complete but is instead growing into itself. It is a circle that refuses its own dimension and finitude, that struggles to be endless.

Keith Lemley is a sculpture artist whose work focuses on creating an informative relationship between object and space and challenges the physicality of material presence. Many of his works are made up of opposing forces of ephemeral light and structural woodblocks that unite in a metaphorical existence of natural systems. His background in science and engineering is reflected in the unique synthesizing of media that portray scenes from nature and memory and inspire a sense of exploration for the viewer.

WORMHOLE
“But without a narrative framework, the spectator struggles to grant the wormhole a concrete existence. WormHole is actually made up of two different parts. In performing arts, the quick passage from one universe to another is within everyone’s reach. Not to mention the cinema … On the other hand, its dramaturgical raison d’etre must be identifiable within the show, rather than in a wormhole that no one has yet been able to prove. What if in Wormhole the passage from a space odyssey to a shared apartment was made by a path called intermission? Authenticated and tested for centuries, this device would make it possible to add something concrete to all the choreographic hypotheses mentioned.” Thomas Hahn

הנריק גורצקי
헨릭 고 레츠 키
亨里克·戈雷茨基
ヘンリク·グレツキ
Хенрик Гурецкий
symphony of sorrowful songs

Symphony no.3, Symphony of Sorrowful Songs is an hour-long work that demands the attention of the listener. It is made up of three movements, all labelled Lento, their slow, deliberate pace having a ritualistic prayer-like quality, with the intensity of Gregorian chant. They have an extremely slow deliberate harmonic progression and build to a slow controlled climax.

Jo Goes Hunting – Run Away

Amsterdam material designer Shai Langen made sculptural headpieces and covered models in hand-painted patterns for Jo Goes Hunting’s Run Away music video.Langen was approached by the Dutch artist’s manager with a brief for “something less conventional”, and was given complete artistic freedom in his approach.The video opens with a close up of a gleaming paint-covered black and white surface, which is gradually shown to be the form of a person.

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Inverta
A circular axle is able to rotate by the use of 36 universal joints hanging from perspex rods and transmitting their rotary motion onto the next. In between the joints, 36 stainless steel objects are attached that rotate at the same speed as the axle. One of the objects has a slightly thinner body, making room for two integrated timing pulleys and thin cogged belts that connect it with the drive mechanism situated on the upper circular frame. The objects are made from thin sheet material and are carefully balanced by placing several counterweights inside their hollow bodies and by perforating their tails, reducing the amount of material furthest away from the axle. During the entire revolution their centre of gravity perfectly aligns with the position of the axle so that a stable rotation is ensured.

Noesis
This project was made by inspiration from law of nature and cosmology such as, “View from Inner Earth” ”Wrapped up in Nothing” “Re-mix the Border” “Constructal Law” “Emerging Moments” “Universal Architecture”, and “Superstring Theory”.Science and art have been getting closer in media art scene. Visualization of data and visualization of wave shapes has been actively pursued.

The Imaginarium of Doctor Parnassus
The Imaginarium of Doctor Parnassus is a 2009 fantasy film directed by Terry Gilliam and written by Gilliam and Charles McKeown. The film follows a travelling theatre troupe whose leader, having made a bet with the Devil, takes audience members through a magical mirror to explore their imaginations and present them with a choice between self-fulfilling enlightenment or gratifying ignorance.
cinema full

Fallen Water
Fallen Water explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal. Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when the fountain can no longer renew itself? Is the water no longer pure? Cooley’s choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West. Cooley references Blake’s famous quote from The Marriage of Heaven and Hell as context for the diametric opposites of the current water conundrum: our deep sense of entitlement to and dire dependence on this precious commodity, coupled with a pervasive obliviousness concerning the sources which supply it. As a way to connect with his personal water use, Cooley hiked into the mountains to see firsthand the snowpack (or lack thereof), streams, and aquifers which feed the water sources supplying his Los Angeles home. This multi-channel installation is an amalgamation of videos made over numerous trips to remote locations in the San Gabriel Mountains, the Sierra Nevada Mountains, and locales as far away as the San Juan Mountains in Southwestern Colorado. These disconnected video vignettes coalesce, constructing a large water landscape canvasing the gallery walls and floors – reflecting the disparate and widespread origin of Los Angeles’s drinking water. The colorspace within the videos is inverted, turning the water pink, orange and yellow—channeling an altered vision of water—in which something is definitely amiss: a stark reminder of the current water crisis in the state of California.
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Pangaea

Named after the prehistoric supercontinent of Pangaea, the artist explains, “this large-scale artwork is a collection of autonomous ‘islands’ that assemble into a singular, 3-story composition.”The art installation is made from a series of layered aluminum ribbons that interact with a field of points located throughout this exterior wall, creating a collection of interconnected nodes, hubs, and conduits.

Yoro Park – Site of Reversible Destiny
“The couple first fully explored Reversible Destiny in what is regarded as their seminal gallery piece, “The Mechanism of Meaning,” an ever-evolving manifesto-cum-artwork begun in 1963, comprising 80 panels that they refined and added to over decades, many of them high-concept diagrams and puzzles with instructions and text (“A Mnemonic Device for Forgetting,” “Think One, Say Two”), made primarily of acrylic and mixed media on canvas. In an accompanying précis to the work, which was exhibited at the Guggenheim in 1997, they prescribed “no more irretrievable disappearances” and declared death “old-fashioned.” Critical opinion differs on how seriously the pair, whose work is in the collection of the Museum of Modern Art and Paris’s Centre Pompidou, took the grandiose quest to end death. But if it was intended as metaphor, neither of them ever let on. Indeed, though Arakawa himself died at 73, in 2010, and Gins four years later, at the age of 72, defying death became the defining work of their lives.” Marie Doezema

Weird Fishes
Radiohead

Tobias Stretch made this beautiful and mesmerising stop motion animation for Radiohead’s track ‘Weird Fishes’. Tobias’ natural light stop motion technique conjures a phantasmagorical and intimate world. Grotesque yet endearing puppets traversing the hinterlands in some bizarre pilgrimage. Tactile and beautiful.

Interference
La interferencia es una escultura que reflexiona sobre el comportamiento simultáneo de la luz como onda y partícula. La escultura muestra dos ondas de luz interferentes que lentamente se vuelven coherentes y luego se separan en diferentes escalas y frecuencias. La forma de la obra es una réplica a escala de una estructura de “pila de madera”, un cristal fotónico artificial que se utiliza para guiar y manipular la luz. Estos cristales imitan las propiedades que se encuentran en la naturaleza en forma de coloración estructural como algunas mariposas u ópalos y son observables como iridiscencia. Es una serie de LED programables que están cubiertos con filtros dicroicos para producir un efecto de colores cambiantes que cambian según la posición de los espectadores. El trabajo se inspiró en el programa de residencia “Scale Travels” en el Laboratorio Internacional de Nanosistemas Ibéricos, donde trabajé con el grupo de fotónica para estudiar las propiedades inherentes de la luz y el color. La observación de la obra por parte del espectador es a la vez una demostración de los fenómenos de las ondas de luz interferentes y la interferencia de las ondas de luz en sí.

Water Made Active
Onze op maat gemaakte “regeninstallatie” druppelde water in volledige volgorde en harmonie. Het reconstrueerde de figuur van een echte atleet in een vloeibare animatie. Elke unit bevatte 64 liter water, met 8 units tegelijk. Dit betekende dat we een halve ton water gebruikten om het hele systeem bij elkaar te brengen. Om het waterkarakter levensecht te maken, hebben we een menselijke atleet in beweging vastgelegd die rent, springt en kickboksen. Vervolgens vertelden gegevens van de bewegingsregistratie het waterplatform wanneer de sproeiers aan en uit moesten worden gezet. De waterdruppels gingen aan en uit met een reeks van 2048 schakelaars. Het team gebruikte flitslicht om de waterdruppels in de lucht te verlichten en “op te hangen”. Dit betekende dat elk frame een nauwkeurigheid van millimeters en microseconden had. Als resultaat hebben we in slechts een microseconde een hele laag  door het hele systeem gestuurd.

Float
The Floats – or floating sculptures – that Robert Breer took up producing again at the end of the 1990s, emerged in 1965. The word “float” meaning something floating – a marker, fishing float or buoy – and which also describes those carnival vehicles whose pretend wheels give them the appearance of floating above the tarmac, enabled Robert Breer to apply this principle to works of a new genre. Primary shapes, neutral colours and, for the most recent, an industrial aspect, the Floats were then made with polystyrene, foam, painted plywood, and, more latterly, out of fibreglass. At first glance, these simple structures appear immobile. In fact, they are moving, imperceptibly, within the space they inhabit. Motorised and on mini-rollers – which raise them slightly above ground, giving them an air of weightlessness – they glide unbeknown to the visitor, following random paths that are interrupted by the slightest obstacle that they encounter.

Sol LeWitt Upside Down
Haegue Yang’s expansive installation, titled Sol LeWitt Upside Down – Structure with Three Towers, Expanded 23 Times, Split in Three, consists of over 500 independent components made of Venetian blinds that together recreate one of LeWitt’s signature works from 1986 – connecting LeWitt’s work to her own attempts to be liberated from the urge to compose, and the way modular thinking leads towards proliferation. Magnifying its size 23 times and hanging it upside down, this is the first work in her Sol LeWitt Upside Down series.

梁基爵
Digital Hug
File Festival – Hipersonica
The project is in collaboration with Henry Chu, Adrian Yeung, Thomas Ip, Joseph Chan, XEX GRP, and Hamlet Lin. It started from the fabrication of digital hubs but it turned out to make you feel like having an intimate hug, such is the chemistry coming from the new media performance “Digital Hug”. GayBird and his group of “musical frankensteins” developed a series of unconventional custom-made musical instruments and a responsive sound installation, which are played in complement to interactive video-mapping images and animation. Digital Hug emphasizes “new instruments for new music”, with the aim of bringing a unique and performative live electronic music performance to viewers.

Consciência crescente
“Usando um vestido de coquetel, montei uma grande estrutura cinética feita de vigas de madeira e escadas na frente do público. Em seguida, caminhei e me equilibrei na estrutura de seis metros de largura, a 2,5 metros do chão. “Consciência crescente” aborda minhas preocupações contínuas sobre a fisicalidade da experiência, habitando o corpo, a propriocepção como o possível sentido mais forte do eu, como a consciência espacial se correlaciona com a consciência geral e a autoconsciência, como a fisicalidade aumenta a criatividade, encontrando o equilíbrio entre a gravidade e a ausência de fundamento, um conceito de felicidade como a expressão mais plena do potencial cognitivo particular de alguém, ultrapassando limites e a atual política irreverente de responsabilidade.” Eve Bailey

Rising Awareness
Could one succeed in rising the level of awareness by sharpening one’s perception rather than repeating the vapid catchphrase, “raising awareness,” which has been coopted by an ever-growing money-raising industry that fails to improve our circumstances in a substantive way? Wearing a cocktail dress, I assembled a large kinetic structure made of wooden beams and ladders in front of the audience. I then walked and balanced on the twenty-foot wide structure at eight feet off the floor. Rising Awareness addresses my ongoing preoccupations about the physicality of experience, inhabiting the body, proprioception as the possible strongest sense of self, how spatial awareness correlates with overall awareness and self-awareness, how physicality enhances creativity, finding balance between gravity and groundlessness, a concept of happiness as the fullest expression of one’s particular cognitive potential, pushing boundaries, and the current irreverent politics of liability.

The One-Way Ticket
The One-Way Ticket explores the idea of sending one person on a one-way trip to outer space. Not coming back opens up an exceptional scenario, so far unprecedented in the history of human space travel. The project focuses on the experience of a lone astronaut and responds to research into human factors particular to a one-way mission. In parallel with this research ran a production of props, contraptions and sets made for exploring the scenario through film.
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فيكتور إثراء
ビクターはエンリッチ
ВИКТОР ЭНРИХ
The artist definitely made a strong impression on the world of visual arts with his concepts. The ideas behind all his illustrations are very strong and full of substances, and manage to grasp the attention of the public from the first second. Aside from that, he also sends other, more subtle messages, regarding his own perspective upon the world, how he deems everything as possible for those who believe and who understand the power of imagination etc. The works of Victor Enrich really are something special, and worth taking a closer look. Without further ado, we invite you to admire the results of his restless imagination, his bold symbolism and his courageous approach to life and the world around us.

TH-42PH10EK x 5
Five screens were installed by the artist as pendulums that swing continuously. As soon as all five have come to a standstill, they are pulled back into their original positions with the help of cable winches and are made to swing again – triggered by pulling a rip cord, a performative act that cannot take place without human intervention and which involves the exhibition supervisor in the installation. Each cycle, which lasts approximately 45 minutes, ends as soon as all five screens have come to a standstill and no more sound is produced by their movement. The sound is produced by the amplification of the friction to which the joints of the moving pendulum are subjected. Multiplication thus creates five oscillating loops that merge into one another with a time offset.

Orbits
“The aesthetics of man-made objects in space, their appearance and especially their orbits are transformed into a minimal audiovisual performance, showing the poetic dance satellites and their trash perform while revolving around us. Seemingly chaotic paths mutate to amazing patterns of an almost organic nature—all of it due to pure physical necessity. When we started working with global satellite data, their information was based on a website maintained by the US Air Force. Yet after some time, based on information from the Union of Concerned Scientists, we discovered that some objects were missing. Fortunately the data on classified satellites is generated by enthusiastic amateur astronomers observing the night skies.” Quadrature

Ljós
Ljós (Icelandic for ‘light’) has been conceived in continuity with the research carried out by fuse* in the field of digital and performative arts, which explores the deep connection between light, space, sound and movement. In Ljós, the performer is the means that allows the viewer to access a surreal and dreamlike space, a dimension with no gravity nor time, made by sounds and images reacting and interacting in real time. A shape-changing universe, which evolves from amniotic fluid in the beginning – protecting and supporting the performer – to the setting for violent explosions and transformations later – leading her to a direct contact with ground and Earth.

Procedural cloth V//002
“I’m continuing experiments with procedurally generated structures. This time I’m implementing algorithm assembled in Houdini over female body. All meshes generated in Houdini. Then uploaded to sketchfab.  All images made from sketchfab model. You can check it in 3d in any browser by the link in my profile.” Oleg Soroko

Supernova
Supernova is an experimental 4K art film directed and designed by Maxim Zhestkov and made in Zhestkov. Studio Everything around and inside us was conceived in a huge explosion of a star billions of years ago… and, probably, recycled from other matrices myriad times. In this eternal carousel of matter, particles gather, form complicated structures and then burst into all directions fusing atoms together and producing new elements and points of view, new colours and patterns of perception.

Oscillations
“Oscillations” presents a group of statues made of bronze, alabaster, marble and stone, placed in a large and immersive installation. The statues represent ancient, prehistoric Venus statues, which give voice to an era 15’000 years ago, when women explored for the first time the power of psychoactive substances and the journeys of the mind. Humeau navigates between worlds with these Venuses as they are speaking statues: their voice create a space of oscillation between the human world and spirits world, taking the visitors with them in this sort of shamanistic ritual.

Fall-winter 2010 moscow – womenswear catwalks
The Russian fashion rebel Yegor Zaitsev presented an avant-garde collection which was surprisingly romantic.
Yegor took classic silhouettes extended them, volumized them, turned them upside down and made them into works of art.

Transfiguration (2020)
Transfiguration (2020) is a reworking of the Universal Everything studio classic from 2011, The Transfiguration. The Transfiguration was first shown at the studio’s first major solo exhibition Super-Computer Romantics at La Gaite Lyrique, Paris. Now completely remade using the latest procedural visual effects software, the updated CGI artwork brings new life to the ever-evolving walking figure, with a new foley-based soundtrack by Simon Pyke.

concept 47
Vlasov’s striking conceptual architecture hits upon contemporary’s most important design features: sharpness, elegance, simplicity, and sleekness. The juxtaposition between nature and the rigidity of a man-made structure accentuate the beauty of the construction. Aesthetically beautiful, Vlasov’s work is efficiently displayed from every angle.

Watage
An interactive installation using naturally-generated power rather than man-made sources like electricity. Dandelion fluff (watage in Japanese) soaked in water to form drop-like shapes, untreated fluff, and so on serve as modules, bonded with liquid paste to be reconstructed. The fluff sways in response to viewers’ breath or movement, even in the absence of breeze, immaculately revalidating the viewer’s own existence by making their influence on surroundings visible without use of technology. Using its surrounding environment to send off its seeds, the dandelion has achieved a lightness and form in its fluff specialized to the purpose and sprouts up each year no matter how the world may change. Having been drawn into the quietly-paced world of plants, the artist looked to dandelion fluff for a new form of expression able to hold its own against showy, rapidly evolving technological expression.

On Framing Textile Ambiguities
The installation On Framing Textile Ambiguities is the output of a critical investigation on social and technical developments that led to the current local technological situation. As a series of machines, the installation presents itself as a group. They share the same thread and are made from the same components. Each machine is build around a frame, through which the thread is running. Though they are finding various meanings in the encoding due to differences in the widths of the frames.

Chaoyang Park Plaza
MAD Architects are responsible for designing the Chaoyang Park Plaza, which will be situated in Beijing. Made to resemble mountains, the plaza is supposed to represent an element of nature.

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.

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Return to Sender
Disarm music box
For the work group Disarm, he was able to use 6,700 weapons confiscated in the Mexican drug war and transform these into musical instruments[…] They play well-known, classical music pieces from the respective manufacturer’s country of origin. A musical box made with Glock pistol parts plays Mozart, Beretta barrels Vivaldi, while Reyes’s weapon of choice for Swiss songwriter Mani Matter is the Carabine. Reyes is concerned with «upcycling» – transforming an instrument of death into a musical instrument that stands for dialog and exchange. He undertakes this transformation process with the conviction that the physical act is always accompanied by an idealistic one and appeals to the spiritual dimension of this quasi-alchemical operation towards the good.

Soft Skin
‘Soft Skin’ is a research project developed by Lubna Alayeli, Nina Jotanovic, Ceren Temel, and Farah Alayeli from the Institute for Advanced Architecture of Catalonia. The work investigates the possibilities of using air inflation in architecture as an active response to changing environmental parameters. The ‘skin’ is composed of a specially developed composite made of thin layers of flexible silicone and elastic fabric. The material system consists of dozens of inflatable cells combined in larger groups. As parameters change — light and wind in this instance — the cells can inflate or deflate in real time. By acting in real time, it is able to reduce wind vibrations and wind drag, and control light infiltration.

INFLATABLE DRESS
Diana Eng, in collaboration with Emily Albinski, created this gorgeous dress way back in 2003, which ended up making its way on the cover of ID Magazine. The designers used this project to explore how they could use electronics to change the shape and color of a gown. The dress inflates to allow you to change it’s shape. Pump up the back or the sides to change its silhouette.
The designers made no attempt to hide the electronics, rather, they exposed the spaghetti-ball of wires and components as the main aesthetic.

The Little General Pinball Machine
“One of the most memorable pieces in the 1997 Documenta X was Öyvind Fahlström’s The Little General (Pinball Machine), 1967. Resembling a raised indoor swimming pool with some two dozen movable parts spread out across its shimmering Plexiglas surface, the thirty-year-old “variable” sculpture radiated a visual audacity that made much of the current work around it pale by comparison. Ersatz scoring cues brushed up against cutouts of historical and pop-culture figures, who in turn seemed to jostle dismembered cartoon limbs and partial anatomies. The cumulative effect was dizzying, as if news, commercials, and cartoons were being broadcast in one overpowering barrage.”Dan Cameron