VORTEX

Architectural fragment made from scaffolding, VORTEX has a raw wood skin highlighted by 12 lines of LED light as many generative and constructive project’s lines. Merging organic materials with new technologies, this hybrid architectural artwork wraps around and embraces the footbridge between the complex’s two buildings, revealing and enhancing the venue’s dynamic energy while working as a live visualizer of energy consumption.VORTEX evolves like a living organism; it breathes, trembles and emits pulses of light created using 1024’s MadMapper software. Manually controlled via a joystick, the structure can be synchronized to music and also displays its location’s energy consumption through a series of illuminated tubes. It ultimately answers to the ambient environment around it, capturing the Darwin Ecosystem Project’s unique energy consumption footprint, and converting it into data that is processed to spawn realtime visuals.
.

Breathing
File Festival
Breathing is a work of art based on a hybrid creature made of a living organism and an artificial system. The creature responds to its environment through movement, light and the noise of its mechanical parts. Breathing is the best way to interact with the creature.
This work is the result of an investigation of plants as sensitive agents for the creation of art. The intention was to explore new forms of artistic experience through the dialogue of natural and artificial processes. Breathing is a pre-requisite for life, and is the path that links the observer to the creature.Breathing is a small step towards new art forms in which subtle processes of organic and non-organic life may reveal invisible patterns that interconnect us.Breathing is a work of art driven by biological impulse. Its beauty is neither found isolated on the plant nor in the robotic system itself. It emerges at the very moment in which the observer approaches the creature and their energies are exchanged through the whole system. It is in that moment of joy and fascination, in which we find ourselves in a very strange dialogue, that a life metaphor is created.Breathing is the celebration of that moment.

El pasajero
El Pasajero es una obra de arte electrónico que genera formas lumínicas a través de sus 400 lámparas de gas, reaccionando a diferentes comportamientos mediante el sonido y algoritmos variables. Su cuerpo formado por nueve módulos semitransparentes, irradia tanto por su frontal como por su parte trasera una luz orgánica cuando las partículas de gas contenidas en sus lámparas son excitadas mediante impulsos de alto voltaje. A través de sus paredes acrílicas pueden verse los componentes electrónicos que dan vida a este golem sintético que opera como escenografía en este primer proyecto de N0Collective, una experimentación que transita la hibridación de los Nuevos Medios con las Artes Escénicas en busca de nuevas experiencias interdisciplinares.

INORGANIC FLORA
Красивата серия Flora Inorganic е създадена от Японския художник Macoto Murayama ,след неговото обстойно изследване на фотографии и ботанически илюстрации.Тя предлага нова форма на представяне на растенията, нещо повече от това което сме свикнали да виждаме в ботаническите илюстрации.

Two Hundred and Seventy
Through the combination of an everyday material with precise technology the mixed media installation fills the whole columned hall from the 19th century with its fluid movement and peculiar sound. Concavely arranged and floating above the spectators heads the form of the artwork seems to pass the skylight like the sun’s rays. Subdivided into nine columns, the nearly 70 square metres large piece of art follows a site-specific choreography determined by a program. Its moving surface is made from 270 white garbage bags, being inflated and deflated. In this way shapes and the boundaries of the installation itself start to dissolve. “Two Hundred and Seventy“ is the first installation with an undisguised view behind the scenes and onto the origin of the wavelike and organic movement: 1080 fans, lots of cables and 45 circuit boards

geometric death frequency 141

“The title of the piece is a pun that, with irony, alludes to the exceeding of tradition, irreconcilable dichotomy between life and death in a sculpture made, provocatively, by lifeless forms“, adds Diaz. “The line between life and none-life is more fleeing than we usually think: think about a virus that attacks a complex organism and reproduces in the same way as a micro-organism, even though it’s only an agglomerated of lifeless molecules: a natural crystal that, even though is a stone, can be born and undergo a fascinated process of growth that mimes perfectly the ways of an organic life“.

Skorpions
LUTTERGILL
Skorpions are a set of kinetic electronic garments that move and change on the body in slow, organic motions.They breathe and pulse, controlled by their own internal programming. They are not “interactive” artifacts insofar as their programming does not respond to simplistic sensor data. They have intentionality; they are programmed to live, to exist, to subsist. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation and unpredictability. They have their own personalities, their own fears and desires.

Pow2045
The mathematical construct covers the human body, yet sets a contrast to organic shapes in its accuracy and mechanical precision. This kind of visual contrast can be understood as a visual representation of human computer difference and reveals core features of both – man and machine. A characteristic foundation to design the dialogue of “POW 2045″

The New Pathe Foundation Headquarters
Renzo Piano Building Workshop designed the “organic creature” in the courtyard of a 19th-century block to house the new headquarters of the Fondation Jérôme Seydoux-Pathé – dedicated to preserving the history of French film company Pathé and promoting cinematography.
The egg-shaped form connects to the surrounding Haussmann-era buildings at four points. Its form curves away from the existing buildings and its top peeks over the roofline.

Organic Cube
GIF
In early 2011 I was exploring the relations of geometry, nature and the human being in a series of 25 pictures that I called ”Fractal Experience”. This is part two – continuing the exploration of geometric shapes, patterns, and fractals with an added element: space-time. This time I’ve worked in 3D and produced a set of animated looping gif’s.
I’ve limited each animation to at most 48 frames, most are around 10-15 frames – to keep the file size small and to maximize the creativity with in these frames.

على فوجيموتو
후지모토에
על פוג’ימוטו
НА ФУДЗИМОТО
Albero Bianco
è stato annunciato che sou fujimoto è stato scelto per costruire la seconda follia architettonica del 21 ° secolo a montpellier, in francia. il team multidisciplinare vincitore comprende anche gli studi francesi nicolas laisné associés (NL * A) e manal rachdi oxo architects. la torre a uso misto di 17 piani ospiterà unità residenziali, uffici, una galleria d’arte, un ristorante e un bar panoramico. uno sforzo interculturale, lo schema incarna la montpellier di oggi, con un’integrazione degli stili giapponese e mediterraneo. la struttura è strategicamente posizionata tra il centro cittadino ed i quartieri di recente sviluppo di port marianne e odysseum, a metà strada tra il vecchio e il nuovo quartiere della città. chiamata “albero bianco”, o “arbre blanc”, la struttura di 10.000 metri quadrati cresce organicamente dal terreno, con una forma naturale che sembra essere stata scolpita nel tempo. i vari rami dello schema forniscono anche aree d’ombra selezionate per le proprietà adiacenti. ciascuno dei residenti del grattacielo selezionerà una planimetria preferita da un elenco di possibili layout, incoraggiando l ‘”architettura a libera scelta” con una serie di spazi modulari. a dominare lo skyline, l’edificio presenta periferie dense ma permeabili dove le divisioni tra spazio interno ed esterno sono sfumate. influenzati dalla passione della città per la vita all’aria aperta, i balconi gravitano verso l’esterno, come foglie che si aprono a ventaglio per assorbire la luce solare. una generosa dotazione di vegetazione vede giardini pensili, piante e alberi posizionati in tutte le unità residenziali, immaginati come un giardino verticale. la torre elabora strategie passive in tutto il suo design di garantire un ambiente confortevole e vivibile che si nutre delle risorse disponibili a livello locale.

PROMETHEUS DELIVERED

The marble sculpture PROMETHEUS DELIVERED – a replica of Prometheus Bound by Nicolas Sébastien Adam (1762) – is slowly decomposed by chemolithoautotrophic bacteria. The acidic process water from the bioreactor KAZBEK penetrates the body of the sculpture via tubes and runs off the surface of the stone. The limestone turns into gypsum while the sculpture slowly dissolves. The biomass of the bacteria is the energy source for human liver cells from which the organic sculpture OCTOPLASMA grows. Inorganic stone turns into organic meat. PROMETHEUS DELIVERED is a play on words, referring to birth in the sense of “delivery”, and to the central importance of the liver in myth.

Ребекка Стивенсон
ريبيكا ستيفنسون
丽贝卡·史蒂文森
sweet shell

Le sculture figurative di Rebecca Stevenson sono allo stesso tempo inquietanti e belle. Usando principalmente poliresina e cera, il suo concetto di solito inizia con una figura umana o animale proiettata in un tenue colore monocromatico che poi sembra sbocciare o decadere con varietà di composti organici multicolori. Questi fiori consumano quasi le figure, dando vita a sculture provocatorie e surreali. Il suo lavoro incarna il processo di creazione e distruzione, rivelando la bellezza che emerge da questo ciclo organico. Alcuni mi ricordano di camminare per i pascoli della fattoria quando ero più giovane e di scoprire vari teschi di animali attraverso i quali l’erba aveva cominciato a arrampicarsi. Se il suo lavoro disturba, è solo perché non cerca di mascherare la macabra bellezza del processo di crescita / decadimento. “Il mio lavoro riguarda il viscerale e il sensuale. Si basa sul disegno anatomico e sull’illustrazione botanica, ma occupa un territorio liminale tra l’indagine scientifica e il corpo immaginario e soggettivo. “

Public Epidemic Nº 1 (Bacterial Orchestra)
Олле и Любке
FILE FESTIVAL

“Bacterial Orchestra” (2006), a self-organizing evolutionary musical organism where each cell lives on an Apple iPhone (it can be ported to any mobile phone, but the iPhone was chosen because it’s popular and the centralized App Store makes it easy for the epidemic to spread). That way, hundreds of people can gather with their mobiles and together create a musical organism. It will evolve organically in the same way as “Bacterial Orchestra”, but it will also be much more infectious. The installation and the ideas behind it can be traced from different areas such as chaos theory, self-organizing systems and neural networks. The goal? A world wide sound pandemic, of course.

ЮНГ ЧЕНГ ЛИН
يونغ تشنغ لين

Gli esperimenti fotografici dell’artista Cheng Yung Lin, noto anche come 3cm, mostrano l’anatomia umana da un’altra angolazione, utilizzando elementi come: linee, piante, dolci, tra gli altri, immaginando composizioni surreali e geometriche. Alcune delle fotografie concettuali sono intense e inquietanti e ci fanno dubitare della relazione tra i nostri corpi e la materia organica.

オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
Олафур Элиассон
The cubic structural evolution
Al centro del lavoro di Eliasson c’è la considerazione di come percepiamo e viviamo il mondo. Spesso fabbrica fenomeni dall’aspetto naturale (come la luce del sole, l’acqua corrente o la nebbia) in ambienti artificiali come una galleria d’arte. Questi fenomeni fabbricati coinvolgono direttamente i sensi del suo pubblico e sollecitano riflessioni su come viviamo le cose. Eliasson ha descritto questo effetto come la capacità di “vedere se stessi vedendo”. Il progetto di evoluzione strutturale cubica 2004 è un’opera d’arte partecipativa in cui gli spettatori contribuiscono alla costruzione di un mondo Lego. È un lavoro in cui Eliasson incoraggia un livello di coinvolgimento molto diretto. Gli spettatori sono in grado di guidare attivamente la loro esperienza del lavoro mentre prende forma organicamente per tutta la durata della sua installazione.