ARTECHOUSE

Aqueous
Inspired by the color blue’s calming qualities, Aqueous is a deep dive into our water-filled surroundings. Whether looking out at the vast horizon of the ocean or listening to the bubbling flow of a stream, water instills a sense of peace and relaxation. Through exploring the textures of liquid in all its states, this immersive installation seeks to soothe the spirit and inspire action to preserve this natural resource.

Sterling Ruby

Резиний рубль
スターリングルビー
Стерлинг Руби
Στερλίνα Ρουμπίνι
Specter
El monolito naranja fluorescente de Sterling Ruby, SPECTRE, aparece como una aparición en el desierto. La brillante escultura geométrica crea una ilusión óptica discordante, que se asemeja a un compuesto o collage con Photoshop, como si algo se hubiera eliminado o borrado del paisaje. El bloque actúa como un cifrado o sustituto, imitando la forma que podría ser: un contenedor de envío, un búnker militar, un objeto no identificado, un hogar abandonado. La naranja fluorescente se usa tradicionalmente por seguridad, como advertencia. Aquí esa lógica se invierte: un objeto fantasmal, apartado del entorno natural, escondido a plena vista.

SNARKITECTURE

The Beach
The Beach is an interactive installation that reimagines the familiar natural and cultural elements of a day at the beach, to create an unexpected and memorable experience for people of all ages. Visitors ascend a ramp before entering an all-white enclosure, where the floor descends towards the highlight of the experience – an ocean of over one million recyclable, antimicrobial plastic balls. A pier extends out into the sea’, allowing people to stand in the center of the space and watch others, while an island invites exploration and discovery. Visual cues such as deck chairs, lifeguard chairs, umbrellas, and signage recall elements of the typical beach-going experience.

Joris Strijbos

DARK ECOLOGY

IsoScope

IsoScope is a kinetic audiovisual outdoor installation, a sensorial experience in which the audience wanders through rotating lights and an ever-changing sonic cloud. This new work by Dutch artist Joris Strijbos consists of multiple robotic wind objects interacting with each other and with their surroundings. Strijbos aimed at creating a human-constructed phenomenon, an abstract entity which, like most natural phenomena, can only be experienced in certain weather conditions. IsoScope can be seen as a proposition for a new kind of machinic and artificial lifeform. IsoScope was commissioned by Sonic Acts for the second Dark Ecology Journey (2015) and realised in collaboration with Jeroen Molenaar, Daan Johan and Erfan Abdi.

Kimchi and chips

Halo
99 robotic mirrors continuously move throughout the day to follow the sun like sunflowers. These mirrors, arrayed across two 5 meter tall towers and one 15 meter long track, each emit a beam of sunlight into a cloud of water mist. The beams are computationally aligned so that together they draw a bright circle in the air. Dependent entirely on the presence of the sun for its completion, the work explores the possibilities and limitations of technology to capture what is out of reach, to harness nature and bring the sun down to earth. Collaborating with the natural fluctuations in the climate, Halo appears only for moments when the wind, sun, water, and technology coincide, creating a form which exists between the material and immaterial.

Charlotte Thrane

Store Krop / Big Body

More people die in bed than anywhere else. For natural as well as for unnatural reasons. We spend up to a third of our lives sleeping. Souvent it happens in bed. From time to time we also have sex there.

UVA United Visual Artists

Great Animal Orchestra
The Fondation Cartier invited United Visual Artists to collaborate on The Great Animal Orchestra, exhibition that celebrates the work of musician, bio-acoustician and scientist Bernie Krause. Krause has been recording animals for 45 years and has amassed a collection of more than 5,000 hours of sounds  recording of over 15,000 individual species in their natural habitats from all over the world. UVA’s creative approach linked together the various exhibition content elements throughout the basement space — soundscapes, spectrograms and art works — into a cohesive, immersive experience that three-dimensionalises Krause’s recordings and suggests scenes from the natural world. The spectrograms form an abstract landscape, an interpretation of the various global locations and times of day that Krause made the original recordings in a way that envelops the audience and encourages them to linger in the space.

HENTSCHLÄGER AND LANGHEINRICH

Akemi Takeya
Granular Synthesis

“From a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain. The semantic void is too loud to be amenable to meditative reception. The frontal images, the rhythmic structures generate contradictory emotions and great strain.”

mette ingvartsen

moving in concert
Moving in Concert imagines a universe where humans, technologies and natural materials coexist to create an abstract set of movement. Inspired by how bodies are sensorially affected by living in a digitalized world, the performance explores a poetics of plasticity, abstraction and imagination.

ATSUSHI AND MAYUMI KAWAMOTO

Riverbank House
Located on a narrow strip of land, sandwiched between a quiet riverbank and a residential neighborhood, the home’s unique form was inspired by the juxtaposed views offered by the surrounding environment. Standing on the riverbank you had views of the calm stream traveling to an unknown destination, unfazed by the birds, joggers and other small life form taking advantage of its natural serenity. However, a few steps down the bank, away from the river, revealed a startlingly contrasting view; homes and more homes, so grounded and monumental.

Kapwani Kiwanga

Flowers for Africa
Flowers For Africa the artist mined archives related to African de-colonization to compile a list of flowers associated with individuals, nations and/or resistance movements; an image library that became the basis for meticulous sculptural recreations of individual flowers, or entire bouquets. As Kapwani described of the series, in a statement that reads as apt in relation to her overall approach: “What I’m trying to do is to acquaint myself with these various historic times, and questions, and more generally an interest I have in power dynamics. With this project I have chosen to look from the African continent at these global questions of power dynamics. This project is a way for me to acquaint myself with different archives, consulting documents and simply pondering on those moments. In this process, this was the most natural gesture which emerged”

BRADLEY SABIN

“The inspiration for my ceramic sculpture is the natural world around me. I moved to Louisiana 15 years ago from Michigan and since that time have used my observations and love of gardening as my library of forms. I equate the care and time needed to have a healthy garden to human relationships that also require nurturing and protecting to flourish[…]”

Ricardo Barreto and Maria Hsu

Avactor (A.I.)

FILE FESTIVAL
Thus, we could define computers not only as object-machines for the use of natural subjectivity, but also as machines of artificial subjectivity, in such way that the subject- machines would operate the object-machines, the same happening for automata, robots and digital avatars. However, we observe the need of another element, whose absence prevents artificial subjectivity’s manifestation. In the present moment, rather than an artificial ego or an artificial conscience, in a structuralizing sense, it must have, in a tactical sense, a persona or a personality, in sum, an actor. Without that persona, artificial subjectivity becomes a mere landscape, lacking subjective referential; without that actor, there is not empathy between artificial subjectivity and natural subjectivity. We call that artificial personality: the Avactor.

TOKUJIN YOSHIOKA

吉冈德仁
吉岡徳仁
Snow
Snow to część wystawy powstałej w 2010 roku w Mori Art Museum – Sensing Nature. Ów rok mijał pod hasłem: Redefiniując Japonię. Japończycy zawsze mieli ścisłą relację z naturą. Ta wystawa jest swoistą eksploracją wrażliwości oraz zbiorowego przywiązania i przynależności do kultury. Zaprojektowana była z dozą przekory wobec tradycyjnej koncepcji, która głosi, że natura powinna być odczuwana, a nie racjonalizowana. Instalacja Snow nie miała naśladować natury. Jej celem była obserwacja mechanizmów funkcjonowania ludzkich zmysłów podczas procesu doświadczania. Człowiek wiecznie odczuwa potrzebę definiowania pewnych zjawisk. Inaczej ów niepokój wynikający z braku wiedzy przeradza się w uczucie zagrożenia. Natura, ostateczne piękno tego świata, niepowtarzalne zjawisko braku stałości funkcjonuje według porządku, którego nie da się zrozumieć poprzez teorię.

STUDIO FUKSAS

Shenzhen Bao’an International Airport

The new terminal of Shenzhen Bao’an International Airport, the first airport by Massimiliano and Doriana Fuksas, encompasses 63 contact gates, with a further 15 remote gates and significant retail space.
It increase the capacity of the airport by 58%, allowing the airport to handle up to 45 million passengers per year.The sculptural 500,000 sqm terminal evokes the image of a manta ray and features an internal and external double skin honeycomb motif that wraps the structure.1.5 km long, with roof spans of up to 80 m, honeycomb shaped metal and glass panels punctuate the façade of the terminal allowing natural light to filter through. Inside, the terminal is characterized by distinctive white conical supporting columns that rise to touch the roof at a cathedral-like scale.The focal point of the design is the concourse located at the intersection of the building.
Consisting of three levels – departure, arrivals and services – vertically connected to create full height voids and allowing natural light to filter from the highest level down to the lowest.

TOYO ITO

تويو ايتو
伊东丰雄
טויו איטו
伊東豊雄
도요 이토
relaxation park

o parque de relaxamento em torrevieja, no sul da espanha, projetado por toyo ito permanece parcialmente construído, com construção interrompida devido a possíveis infrações de o direito costeiro. a situação já foi destacada em uma exposição da arquiteta, nathalie gidrón, em um pub alicante, que mostra “o estado em ruínas do edifício atual” construído em a forma de um caracol de madeira e então coberto de cobre, embora o cobre tenha desaparecido e a madeira abaixo agora esteja deformada por causa da umidade. gidrón considera o edifício “uma das joias da arquitetura do século 21. a prefeitura de torrevieja modificou os planos depois que a ordem de interromper a construção foi recebidos e negaram que o projeto tenha sido abandonado. outros grupos políticos estão pedindo que a terra volte ao seu estado natural.

ÉTIENNE-LOUIS BOULLÉE

Cénotaphe à Newton

Boullée promoted the idea of making architecture expressive of its purpose, a doctrine that his detractors termed architecture parlante (“talking architecture”), which was an essential element in Beaux-Arts architectural training in the later 19th century. His style was most notably exemplified in his proposal for a cenotaph (a funerary monument celebrating a figure interred elsewhere) for the English scientist Isaac Newton, who 50 years after his death became a symbol of Enlightenment ideas. The building itself was a 150 m (500 ft) tall sphere, taller than the Great Pyramids of Giza, encompassed by two large barriers circled by hundreds of cypress trees. The massive and spheric shape of the building was inspired by Boullée’s own study called “theory of bodies” where he claims that the most beautiful and perfect natural body is the sphere, which is the most prominent element of the Newton Memorial. Though the structure was never built, Boullée had many ink and wash drawings engraved and circulated widely in the professional circles in 1784. The small sarcophagus for Newton is placed at the lower pole of the sphere. The design of the memorial is intended to create the effect of day and night. The night effect occurs when the sarcophagus is illuminated by the sunlight coming through the holes in the vaulting, giving the illusion of stars in the night sky. The day effect is an armillary sphere hanging in the center that gives off a mysterious glow. Thus, the use of light in the building’s design causes the building’s interior to change its appearance.