NUMEN/FOR USE

Corda
Corda è un’installazione artistica proposta dal gruppo di design austriaco Numen / For Use. Il designer disegna corde da un’estremità all’altra in un grande cubo gonfiabile per formare un piccolo mondo a griglia. Quando l’intero cubo è pieno d’aria, le corde densamente imballate sono tese e ogni corda è sufficiente per sostenere il peso di una persona. Le persone possono arrampicarsi e attraversarlo e sperimentare il senso generale dello spazio nella direzione impercettibile.

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.

Tom Van Sant

ladder kite
Tom’s spectacular kites, produced in the mid-1970s, remain astonishing. His trampoline train has fostered newer renditions, and his large centipede and Concorde delta were both larger-than-life. Tom is known to both the science and art communities, combining state of the art technology and media to create world famous sculptures of both large and small scale.

ROSIE DANFORD PHILLIPS

Autumn Winter 2019
Rose Danford-Phillips admits it: as the daughter of gardeners, she draws her inspiration from nature. And when she evokes her love for lace, she speaks about a “delicate sensation of petals” … With her skill at vegetation metaphors, she explains that she transformed a magnificent piece of Sophie Hallette lace into a “rampant vine” for her graduate collection at the Royal College of Art. Either by combining it with a fringed silk to reinforce the idea of an uncontrollable, wild nature or by hand-embroidering it onto plastic to create a sense of nature recreated in a laboratory. “Lace tells a story” she says and hers transports us into a poetic, feminine and modern tale.

LECH MAJEWSKI

Лех Маевский
THE MILL & THE CROSS

Rutger Hauer THE MILL & THE CROSS dir. Lech Majewsk Pieter Bruegel’s epic masterpiece The Way To Calvary depicts the story of Christ’s Passion set in Flanders under brutal Spanish occupation in the year 1564, the very year Bruegel created his painting. From among the more than five hundred figures that fill Bruegel’s remarkable canvas, THE MILL & THE CROSS focuses on a dozen characters whose life stories unfold and intertwine in a panoramic landscape populated by villagers and red-caped horsemen. Among them are Bruegel himself (played by Rutger Hauer), his friend and art collector Nicholas Jonghelinck (Michael York), and the Virgin Mary (Charlotte Rampling). T

MINSUK CHO

조민석
Guggenheim Art Trap

Art Trap (trampa del arte) es el titulo de esta mirada del arquitecto Minsuk Cho donde el público es absorbido y entra a formar parte del edificio gracias a unas sillas especiales que permite a los muchos visitantes del Museo experimentar su vacío central.

Steven Holl Architects

Ecology and Planning Museums

Entering on the ground level to the ecology museum reveals a projection next to the restaurant and retail areas. an elevator takes guests to the top level where their descent through the three ecologies – earth to cosmos, earth to man, earth to earth – begins, connected through a series of ramps.
the earth to earth exhibit on the bottom floor features a plane that turns clockwise, moving slowly down towards the ocean ecology space appropriately situated under the reflecting pond of the exterior plaza. the earth to earth section contains four outdoor green terraces as temporary exhibit spaces that change with the seasons.The shared public square also marks the entrance to the planning museum where visitors are greeted by a large model of the eco-city and another temporary display area. a multimedia system makes the next sequence of program, the theory and practice zones, come to life with dynamic informative videos, images, and sounds, all located on the second level. mechanical escalators transport guests to the third floor where one-way display is turned into an interactive relationship with the viewer. this is accompanied by a 3D cinema and a restaurant with views out towards the sea. on the top storey one can find the green architecture, landscape and water resources exhibits as well as access to the vegetative roof-scape offering offering unmatched views.

REBECCA STEVENSON

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. “

Steven Holl Architects

Ecology Museum and Planning Museum

Steven Holl a été chargé de projeter deux édifices pour celle annoncée comme la première ville écologique de Chine, Tianjin Eco City, qui se dressera à 150 km de Pékin.
Considérés globalement, les deux projets de Steven Holl semblent centrés sur le concept du Yin et du Yang chinois. Les deux constructions, situées l?une en face de l?autre et séparées par un plan d?eau, sont complémentaires. L?Ecology Museum s?approprie des volumes soustraits au Planning Museum.
L?architecte a projeté un parcours d?exposition descendant pour l?Ecology Museum, grâce à un système de rampes : Earth to Cosmos, Earth to Man et Earth to Earth d?où les visiteurs accèdent à l?Ocean Ecology Exhibition s?étendant sous la place d?eau qui sépare les deux édifices.

ROBERTO ERCILLA

mechanical ramps

MARGARET GRIFFIN

Schindler’s Paradox Box

The double helix ramps descend towards the new open auditorium and climb 15 meters until they reach an open roof garden that offers interesting views from below, from above and the border between them. Helical lines are connected on the north side of the house to reconnect on the roof and at the level of the underground auditorium. The interlocking ramps create a continuous common surface that flows between them, emphasizing views of the property, Kings Road and adjoining apartment buildings. The support surfaces of the ramps are independent of the Berlin walls that support them.

KRZYSZTOF WODICZKO

Dis-Armor Project

Dis-Armor is the newest in a series of psychocultural prosthetic equipment designed to meet the communicative need of the alienated, traumatized, and silenced residents of today’s cities. It connects contemporary research in two fields: wearable communi- cation technology and prosthetics. In doing so, it counters the dichotomy of the present explosion in communication technology and rampant cultural miscommunication. Dis-Armor offers an opportunity for indirect, mediated communication by allowing its users to speak through their backs. LCD screens, worn on the back, display live images of the wearer’s eyes transmitted from cameras installed in the helmet covering the face. A speaker positioned below the LCD screens amplifies the user’s voice. Attached to the helmet is a rearview mirror, alternatively, a rearview video camera, monitor, microphone, and headphone. These permit the user to see the face and hear the words of the spectator/interlocutor standing behind. Wireless video equipment installed in the helmet further allows two users to work in tandem, showing each other the other’s eyes and broadcasting to each the other’s voice.

DILLER + SCOFIDIO

The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a “braincoat” (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a “sense of physical suspension only heightened by an occasional opening in the fog.” As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.

JAMES TURRELL

جيمس توريل
詹姆斯·特瑞尔
ג’יימס טורל
ジェームズ·タレル
설치작품 제임스 터렐
ДЖЕЙМСА ТАРРЕЛЛА
Aten Reign
Dans Aten Reign, une lumière naturelle pénètre à travers le verre du musée et atteint la couche inférieure de la composition massive en suspension. Composée d’une série de cônes interconnectés éclairés par des LED, l’installation circonscrit le cœur de la lumière du soleil avec cinq anneaux elliptiques de lumière aux couleurs changeantes qui font écho au motif des rampes du musée

JAMES TURRELL

جيمس توريل
詹姆斯·特瑞尔
ג’יימס טורל
ジェームズ·タレル
설치작품 제임스 터렐
Джеймса Таррелла
Aten Reign
Em Aten Reign, a luz natural entra pelo óculo do museu e chega até a camada inferior da composição maciça suspensa. Composta de uma série de cones interligados iluminados com LED, a instalação circunscreve o núcleo de luz solar com cinco anéis elípticos de luz de cores mutáveis que ecoam o padrão das rampas do museu

AZC

Inflatable Trampoline Bridge

LOWER DENS

Brains

Tristan trains the camera on a stoic Jana, using various visual effects to modify the footage in concert with the music. Put another way, the band’s camp says the video is about “appreciating our modern society’s rampant technological advancements while reconciling its ability to encroach to traumatizing effect. ”

SONJA VORDERMAIER

sleepwalkers
在她的作品中,艺术家Sonja Vordermaier(* 1973)研究了多种材料的特定特性和动态品质。 Vordermaier雕塑和房间装置令人不安的美感,无论是棱角形的或无定形的,晶体的或植物的,技术性的还是猖ramp的-Vordermaier雕塑和房间装置的令人不安之美都是基于将常见的建筑材料转变为具有令人着迷的刺激力和几乎无穷无尽的联想潜力的结构。
»材料的组合导致相反的共生关系:软变硬,固体变轻,柔韧性变硬。艺术家的以过程为导向的作品(…)也是雕塑概念的作品,通过对非典型材料的表演性处理加以扩展,这些非典型材料在它们的联系中达到了新的材料状态。物体变成了物体,不仅触发了观看者的肉体接触,而且触发了他们的情感接触。«(Wiebke Gronemeyer)

AZC

Trampoline bridge