Patterned by Nature
Patterned by Nature was commissioned by the North Carolina Museum of Natural Sciences for the newly built Nature Research Center in Raleigh, North Carolina. The exhibit celebrates our abstraction of nature’s infinite complexity into patterns through the scientific process, and through our perceptions. It brings to light the similarity of patterns in our universe, across all scales of space and time.
Marsha
Marsha is a AI SpaceFactory’s NASA-award-winning design and prototype for a 3D printed Mars habitat. The prototype was printed nearly autonomously in 2019 within a 30-hour construction window. “Our 3D print technology uses a recyclable biopolymer composite which outperformed concrete in NASA’s strength, durability, and crush testing. ASTM lab tested and certified to be two to three times stronger than concrete in compression, our space-grade material is also five times more durable than concrete in freeze-thaw conditions.” Ai-Spacefactory
Fall in Pop
‘Fall in pop’ by mint design is a large organic work composed of 3D screens made from a fabric that has been coated with a glossy finish called glass organdie (made from polyester), in which motifs are projected, filling the space with light and color. The central focus is a sculptural, draping form which extends from above one’s head, down to the floor, meant to give the feeling of waterfalls which bring moisture to forests, as images trickle down the textile, creating a sensory visual space.
A Cast of Things
A Cast of Things by the Los Angeles Design Group (The LADG), is a series of models and drawings that investigate the agglomerations of decorative stucco at an existing rococo church in Osterhofen, Germany. Through various models and drawings of the church’s adornments, the LADG attempts to reveal the architectural possibilities beneath the surface, expanding the surface decoration into proposals for occupiable space. more…
Constructive Interference
Created as a collaboration between Hypersonic and Plebian Design, Constructive Interference is a sculpture designed to engage passer-bys using the wonder of moire patterns. Installation is composed of two large patterned sheets of steel, designed to create a rapidly changing visual interference effect as viewers pass by.Moving shapes and hidden structures appear fleetingly within the sculpture as the eye and body pass by. The effect and shape of the piece changes dramatically from one vantage point to another around the space, while the sculpture itself remains static.
Wego Hotel
In a world subject to the effects of dramatic climate change, declining resources, ever-increasing income inequality, widespread political instability, rapid population growth and concomitant consumption of space design disciplines must work towards radical solutions.
architecture – color
QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center
Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena
QUBIT AI
In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.
Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.
Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.
Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.
Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival
Everything Before, Everything After
FILE 2024 | Installations
International Electronic Language Festival
Seph Li – Everything Before, Everything After – China and UK
A digital installation features a winding river in the style of Chinese painting, symbolizing time and transition. Touch screens allow visitors to paint over it, altering its course unpredictably. The river embodies history and the future, with each trace contributing to its eternal flow through space and time. Recorded interactions ensure its perpetual existence.
Bio
Born in Beijing in 1988, Seph Li has a mixed background in technology and design, and his keen interest in interactive artworks led him to the field of media arts. Seph studied computer science and entertainment design at Tsinghua University and continued his master’s study in design/media arts at UCLA. Seph currently resides in London, United Kingdom; he creates interactive artworks as well as technical experiments with other production studios.
Speculative Evolution, Prototype 1
FILE 2024 | Installations
International Electronic Language Festival
Speculative experiment on a future ecosystem under strict control. The narrative takes place in a simulation, 30 years in the future, where artificial intelligence and synthetic biology collaborate to optimize an environment for cultivated species. An AI-powered simulator helps visitors generate new species to balance the ecosystem. Inspiration comes from the book Under the White Sky by Elizabeth Kolbert and artists’ stories about life on a damaged planet.
Bio
Marc Lee is a Swiss artist focused on real-time rendered audiovisual installations, AR, VR and mobile applications, critically exploring creative, cultural, social, ecological, political and speculative themes. His work has been exhibited in important museums and new media art spaces. Shervin Saremi is an Iranian musician and audio engineer specializing in sonic computing, procedural sound design and production. Currently researching immersive audio at UdK Berlin.
Space Odyssey 2002
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Valentin Rye – A Space Odyssey 2002 – Denmark
This video offers a surrealist take on futuristic sci-fi concepts from the 60s and 70s. Imagine a future colonization of Mars where interior design is given an avant-garde twist. It was created by brainstorming visual ideas, generating countless images, refining the best ones and assembling them into clips. After careful selection, these clips have been organized into a cohesive timeline, accompanied by atmospheric music to enhance the overall experience.
Bio
Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.
FILE 2024
QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center
Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena
QUBIT AI
In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.
Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.
Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.
Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.
Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival
FILE 2024
QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center
Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena
QUBIT AI
In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.
Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.
Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.
Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.
Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival
FILE 2024
QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center
Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena
QUBIT AI
In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.
Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.
Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.
Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.
Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival
Crowd Cloud
Keeping the human voice at its core, Crowd Cloud distils the vowels of the Japanese language, creating a unique composition that emanates from a choir of dozens of standing horns that converse with each other like people waiting for friends and relatives. Crowd cloud is designed to provide a welcoming experience in what is often a soulless public space, momentarily turning visitors into audience members as they pass by en route to the next part of their journey.
FILE SAO PAULO 2017
THE BREATHING CLOUD
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. With this light art the phrase “let a room come to life” gets a new meaning. The clouds skin looks fragile and soft, and the movements are rhythmic, yet random, so the whole room feels like a living being. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.
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。
Espace aérien
En 2016, Dirk Koy a fondé le studio de motion design et de film expérimental «Dirk Koy Bild und Bewegung». Dans son travail, il utilise différentes technologies (drones / animation 2D et 3D / photogrammétrie / AR / VR) pour créer des images numériques en mouvement. Il explore l’interface entre réalité et virtualité et recherche également la composante picturale dans le contexte numérique. L’expérience joue un rôle central.
The Light Pavilion
The Light Pavilion by Lebbeus Woods in collaboration with Christoph a. Kumpusch, in the Raffles City complex in Chengdu, China, by Steven Holl Architects.
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The Light Pavilion is designed to be an experimental space, one that gives us the opportunity to experience a type of space we haven’t experienced before. Whether it will be a pleasant or unpleasant experience; exciting or dull; uplifting or frightening; inspiring or depressing; worthwhile or a waste of time, it is not determined by the fulfillment of our familiar expectations, never having encountered such a space before. We shall simply have to go into the space and pass through it. That is the most crucial aspect of its experimental nature, and we – its transient inhabitants – are experimentalists.Lebbeus Woods and Christoph a. Kumpusch
O’Neill cylinder
O’Neill was inspired by the papers written by his students. He began to work out the details of a program to build self-supporting space habitats in free space.Among the details was how to provide the inhabitants of a space colony with an Earth-like environment. His students had designed giant pressurized structures, spun up to approximate Earth gravity by centrifugal force . With the population of the colony living on the inner surface of a sphere or cylinder, these structures resembled “inside-out planets”. He found that pairing counter-rotating cylinders would eliminate the need to spin them using rockets.This configuration has since been known as the O’Neill cylinder.
Matilda Home
The idea to bring design also in common life attracted us. This is a new concept of habitat of house. It’s a mobile home it can be everywhere around the world; everybody can be a client. It’s a modular unit so many of them can be added together like a cloud. It can even be a city .This is not an object, it is a concept, it can be a city, a landscape or simply an home. Easy to build, it can be done in different materials more or less expensive. Matilda is a completely different space since nowadays we don’t need so much storage space, you just need to have a screen. The only thing is important is to have a nice place to eat, to seat and to sleep but also this can be done with something you close when you don’t need
behance
The stair became the ideal site to produce an installation that extends to both floors and can be seen from anywhere in the office. The design of the office is very clean and contains a lot of white materials and finishes so we decided to create an installation that acts as a kind of three dimensional stained glass window that casts colored light throughout the space.
Aerial Assemblies
Self-Assembly is a process by which disordered parts build an ordered structure through local interaction. We have demonstrated that this phenomenon is scale-independent and can be utilized for self-constructing and manufacturing systems at nearly every scale. We have also identified the key ingredients for self-assembly as a simple set of responsive building blocks, energy and interactions that can be designed within nearly every material and machining process available. Self-assembly promises to enable breakthroughs across every applications of biology, material science, software, robotics, manufacturing, transportation, infrastructure, construction, the arts, and even space exploration.
Supermassive Black Holes
Supermassive Black Holes is an acoustic ceiling installation for the main lobby of the Los Angeles Chamber of Commerce. The design is part of a series of projects in which we work with small primitives that are aggregated into a larger whole. In this case, there are over 10,000 felt cones stitched together into three gigantic, 20’ tall, hanging felt vortexes that that absorb sound through its materiality and geometry. The thousands of cone shape parts trap and disperse sound waves while softening the overall acoustic quality of the space.
Quantum Memories: Nature Studies
Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. These unique pieces of the “Quantum Memories” series exhibit arresting visuals and colors that speculate the probability of reaching invisible spaces. They are composed in collaboration with a generative algorithm enabled by artificial intelligence (AI) and quantum computing, a new form of computing that exploits the unusual physics of the subatomic world. It turns the visual data that flows around us into an artwork that represents our collective and digitized memories of nature and encourages the viewer to imagine the potential of this computing technology for the future of art, design, and architecture.
Urban imprint
“If there is to be a “new urbanism… it will no longer be concerned with the arrangement of more or less permanent … but for the creation of enabling fields….that refuse to be crystallized into definitive form; it will no longer be about meticulous definitions, the imposition of limits, but about expanding notions, denying boundaries, not about separating and identifying entities, but about discovering hybrids; it will no longer be obsessed with the city but with the manipulation of infrastructure for endless intensifications and diversifications, shortcuts and redistributions – the reinvention of psychological space.”, Dutch architect + Harvard Professor, Koolhaas 959, writer of Delirious New York. URBAN IMPRINT is how we design a piece of this new urbanism, an augmented materiality , as we define it. An environment that is a ‘blank canvas’ to be reshaped by the future self.
Maison Fibre
Maison Fiber è un’idea inedita, esposta ed esplorata per immaginare un’alternativa ai metodi di progettazione e costruzione. Qual è il futuro dell’architettura? Come possono gli esseri umani adattarsi e vivere in habitat armoniosi? Una visione sostenibile è stata esposta alla 17. Mostra Internazionale di Architettura – La Biennale di Venezia 2021, un portale futuristico è stato esposto come approccio alternativo alla progettazione e costruzione di futuri spazi abitabili.
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University of Stuttgart, Institute for Computational Design and Construction (ICD) ve Institute of Building Structures and Structural Design (ITKE) tarafından Bienal’in bu seneki temasına yanıt niteliğinde tasarlanan proje, tamamen robotik olarak, lifli yapı elemanlarından üretilmiş bir yaşam birimi.
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Maison Fibre is a novel idea, exhibited and explored to envision an alternative to the methods of design and construction. What is the future of architecture? How can humans adapt and live in harmonious habitats? A sustainable vision was exhibited at the 17th International Architecture Exhibition – La Biennale di Venezia 2021, a futuristic gateway was exposed as an alternative approach to the design and construction of future habitable spaces.
Micro-Utopia
In response to London’s pressing housing crisis Micro-Utopia proposes a shared, immersive and interactive version of a home, where space is born from the finely-tuned sensorial interplay between the body and virtual/physical objects connected to the Internet of Things. A chair invites us to stay with it for a moment; we crawl through a demanding fireplace; our hands are washed in a bowl of digital liquid – the highly speculative model of domesticity explores the architectural implication of co-inhabiting a minimal physical infrastructure within infinitely bespoke virtual worlds. Drawing on radical art practice, interiors in historical painting and contemporary product design, Micro-Utopia is the dream of a house that is nothing, but the parameters of our perception are triggered through the metaphorical dimension of the objects we interact with on a daily basis.
Moncler Genie Herbst 2020
Seit seiner Gründung hat das Moncler-Genie-Projekt Designer aus verschiedenen Kulturen gebeten, Kapselkollektionen zu kreieren, die von der legendären Moncler-Pufferjacke inspiriert sind. Der in London lebende Designer Richard Quinn besuchte für seine Kollektion den Retro-Futurismus der sechziger Jahre. Mit klaren Einflüssen wie Stanley Kubricks 2001: A Space Odyssey und Twiggy verbindet die Kollektion perfekt Maximalismus, kräftige Farben und Couture-Formen. Natürlich wurden Quinns Blumendrucke – Teil seiner Design-DNA – nicht zurückgelassen.
فرناندو روميرو
费尔南多·罗梅罗
フェルナンド·ロメロ
페르난도 로메로
Soumaya Museum
Museum buildings tend to be conceived either for maximum functionality – acting as neutral containers for art – or as iconic structures that represent a city at a particular historic moment. The Museo Soumaya was designed as both: a sculptural building that is unique and contemporary, yet one able to house a collection of international paintings, sculptures, and decorative objects dating from the fourteenth century to the present.The exterior of the building is an amorphous shape perceived differently from every angle, reflecting the diversity of the collection inside. The building’s distinctive façade is made of hexagonal aluminum modules facilitating its preservation and durability. The shell is constructed with steel columns of different diameters, each with its own geometry and shape, creating non-linear circulation paths for the visitor. The building encompasses 20,000 square meters of exhibition space divided among five floors, as well as an auditorium, café, offices, gift shop, and multipurpose lobby. The top floor is the largest space in the museum, with its roof suspended from a cantilever that allows in natural daylight.
Underwater Pavilions
Underwater Pavilions is artist Doug Aitken’s large-scale installation produced by Parley for the Oceans and presented in partnership with The Museum of Contemporary Art, Los Angeles (MOCA). The work consists of three temporary underwater sculptures, floating beneath the ocean’s surface that swimmers, snorkelers, and scuba divers swim through and experience. Geometric in design, the sculptures create underwater spaces synthesizing art and science as they are constructed with carefully researched materials and will be moored to the ocean floor. Part of each structure is mirrored to reflect the underwater seascape and create a kaleidoscopic observatory for the viewer, while other surfaces are rough and rock-like. The environments created by the sculptures will constantly change with the currents and the time of day, focusing the attention of the viewer on the rhythm of the ocean and its life cycles.
American Museum of Natural History
Richard Gilder Center for Science, Education, and Innovation
“We uncovered a way to vastly improve visitor circulation and museum functionality, while tapping into the desire for exploration and discovery that is so emblematic of science and also such a big part of being human. Upon entering the space, natural daylight from above and sight lines to various activities inside invite movement through the Central Exhibition Hall on a journey toward deeper understanding. The architectural design grew out of the museum’s mission.” Jeanne Gang
Elasticity
With an urge to constantly explore the intersection between architecture, fashion, and product design, london-based artist Fabrice le Nezet has created ‘Elasticity.’ the work materializes the idea of tension by making the notion of weight and stretch palpable through the use of four massive and abstract metal structures. These components run perpendicularly across the long edges of rectangular voids in the ceiling. by presenting this normal condition, several of the wires bend to support large prisms of concrete that provide a feeling of force and motion. as they drop down to occupy spaces below, movement is emphasized by their strategic orientation below clerestory windows shining light onto the forms. As observers move around the constructs, a contrast is created between the real properties of the materials and the way they are perceived.
Atmosphere
For Atmosphere, glass tubes filled with argon and neon simulated the color of the Arizona sky. Arranged as a column, these tubes altered the shadows of visitors, casting them in pillar-form. The space was designed to respond to the actions of its inhabitants, encouraging them to investigate, play with and probe the air.
video
Spectrum
How intensely can you experience colour? Colour as a phenomenon which you don’t just see, but which totally absorbs… Spectrum is a spatial installation that makes colour tactile and tangible.
Fall backwards into a black hole and reawaken in an infinite spectrum. An immersive experience which will give you a whole new perspective on the coloured cycles of our everyday light. Following Blaas and Curve, Spectrum completes a triptych centred on white space, each piece created with spatial designer Cocky Eek in collabaration with Schweigman&. In Blaas you crawl through an inflatable balloon; in Curve you enter an endlessly spiralling tunnel. Spectrum starts by asking: how can we make the colour physically tangible?
Phantom Geometry
“We are developing a system of moving streaming information through space, in the form of light, to generate material form. This system is a full-scale, generative fabrication process that is innately non-linear, is interruptible and corruptible at any time, and does not rely on periodic flattening to 2D. Light is the medium for data in our system. There resident data can be drawn through physical space, at full scale, to generate a photographic artifact, or to instantiate material form through the selective polymerization of proximal photo-responsive resin. This thesis, then, begins to investigate a design paradigm centered on the material reification of light. That paradigm questions the supremacy of the digital model, and the static flattening and stacking logics inherent to typical fabrication workflows. It is part of a conversation about representation, about the role of the designer, and about the way we make.”
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.
Spectra-3
The piece is the latest instalment of their ongoing Spectra series, a merging of physical and virtual sculptures that take inspiration from space, technology, and our relationships to them, to provide elegant and sensory experiences using sound, light, and reflection. Spectra-3’s design and movement is inspired by the radio telescopes of the Very Large Array (VLA) located on the Plains of San Agustin in New Mexico. The piece combines computer-aided design with real-time input from the public’s movements, to inform its physical actions as it rotates on motors, augmenting the space with the enchanting hues and patterns of reflected light and spatialized sound.
Skin Sucka
A project conceived with Clive van Heerden, Jack Mama (Philips Design Probes) and Bart Hess, Skinsucka explores a vision of our nano technology future whereby bio technology and robotics come together to question our attitudes of a synthetic future. Skinsucka reveals a future where microbal robots live in our shared spaces and autonomously they will undertake menial tasks such as cleaning our homes by eating the dirt. ‘Skinsuckas’ clean the skin, removing the vestiges of make up and providing the remedies to combat the excesses of the night before They swarm over the body extruding metabolized household dirt, dressing the body in a daily ritual of real time, customized manufacture – yesterday’s discarded clothing ready for recycling.” Clive and Jack’s work has consistently brought very diverse skills together in new innovation processes. In the late 1990’s they took designers and other creative skills into Philips Research labs in the Redhill, London and New York and created a specialist studio in London to develop the skills, materials and technologies for a host of Wearable Electronic business propositions in the areas of electronic apparel, conductive textiles, physical gaming, medical monitoring and entertainment.
ShenZhen Science Technology Museum
A cascade of terraces will frame a large atrium at the heart of the Shenzhen Science & Technology Museum that Zaha Hadid Architects is developing in China. Slated for completion in late 2023, the pebble-shaped museum will encompass 125,000-square-metres and contain a mix of public spaces, galleries and educational facilities. It has been designed by Zaha Hadid Architects as a landmark for Shenzhen’s new Guangming Science City – a masterplan intended to establish the city as a hub for innovation.
Telemetron
Nicole L’Huillier and Sands Fish decided to explore how design and creativity might evolve as we begin to do more than merely survive in space. The Telemetron is a unique musical instrument that takes advantage of the poetics of zero gravity, and opens a new field of musical creativity. The project attempts to expand expression beyond the limits of Earth-based instruments and performers. Leveraging sensors, data transmission and capture (for performance after flight), as well as their experience as composers and performers, Sands and Nicole explore a new body language for music.
The Hive Kew Gardens
“The proposal involves the idea of ’temporary’ in an interesting way. It uses the temporary aspect of the installation to carefully engage with the purpose and short and long-term needs of the land,” said the judges. Originally designed for the Expo 2015 from Milan, The Hive was transferred to Kew Gardens, in central London, for two years, where it was part of an event space. Designed to give visitors a glimpse into the life of working bees, the pavilion was built with 169,300 individual aluminum components equipped with hundreds of LED lights. As the meadow surrounding the structure grows, several species of plants begin to flourish, bringing with them the sounds of real bees that enhance the multi-sensory experience of the pavilion.The aesthetic and symbolic installation represents its namesake, with the aim of showing visitors the importance of protecting the honeybee.
Cocoon
“Cocoon is a 360° x 220° spherical, immersive video installation we designed, directed and produced in house. Cocoon places the participants inside several shells of abstract and figurative architectural spaces, which slowly peel away. Cocoon believes architecture is not static, but is transitory, evolving and animated. Our city is our cocoon.” Factory Fifteen
Illusion Lens
French Artist Vincent Leroy has proposed a geodesic installation imagined to sit atop the Roppongi Hills Mori Tower in Tokyo. The otherworldly sphere takes on a similar form to that of a spaceship, with three strong industrial legs holding up its perch. Sitting 238 meters high in the center of the rooftop’s helipad, the installation quietly overlooks Tokyo’s sprawling cityscape. Leroy accurately refers to the sphere’s kaleidoscope effect as “a sampler of the sky,” as it captures its surrounding climate and twists the image into multiple pieces. The artist designed the proposed installation as an escape from the busy streets of Tokyo, a place to contemplate and reflect in peace either alone or with loved ones.
The TAMU Chair
The result of the dialogue between designer and machine, Tamu is a foldable chair which takes up less space and the least amount of material possible to make.
OCULUS
OCULUS: A Spatial Experience Based on the Interaction of Architecture and Media Arts
An audio-visual performance based on a selection of HAS Architects works interpreted by NOHlab and Buşra Tunç
A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single- Dome Hall of the Imperial Arsenal.
Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.
AVATAR X Lab
The project is a partnership between ANA Holdings Inc. and Japan Aerospace Exploration Agency (JAXA); a part of AVATAR X, a collaborative program for the advancement of space exploration and development. ANA and JAXA are both experts at launching vehicles into the atmosphere, the feeling of suspension or ‘being in the air’ is natural for both entities. The AVATAR X Lab Building is designed as a suspended building floating above a moon-like crater. The multi-story structure floats eighteen meters above the crater bottom, and is accessible by a bridge. When astronauts board a spacecraft they cross a bridge; when we board a plane we walk across a jet bridge between the terminal and airplane. This is our last contact with familiar ground before taking off for someplace new. The suspended building embodies this crossing of thresholds: after passing over the bridge you are transported to a new place, the AVATAR X Lab Building, where technological innovation will change how we see the world.
NEST
Inspired by Homer’s Odyssey
Loosely based on Homer’s The Odyssey, Marshmallow Laser Feast’s light installation lit the primary performance space within the chapel’s hazy internal dome. Grid-like projections crossed with mobile structures (designed by the architectural practice Studio Weave) as agile bodies crept over, in and through the many lit towers and surfaces. This first act was seen by the audience from the left and right balconies above. The second act, down flights of rope-lined staircases in the concrete basement, was more disorienting, lit only with triangular neon tubing and an eerie glow that seeped from an open door. The style of dance, in keeping with the more rapid and percussive score, by Canadian composer Christopher Mayo and electronic music composer / performer Anna Meredith, confronted the audience and was staged without boundaries dividing the dancers (some of whom were in street clothes) and viewers.
SOMEONE
SOMEONE imagines a human version of Amazon Alexa, a smart home intelligence for people in their own homes. For a two month period in 2019, four participants’ homes around the United States were installed with custom-designed smart devices, including cameras, microphones, lights, and other appliances. 205 Hudson Gallery in NYC housed a command center where visitors could peek into the four homes via laptops, watch over them, and remotely control their networked devices. Visitors would hear smart home occupants call out for “Someone”—prompting the visitors to step in as their home automation assistant and respond to their needs. This video installation presents documentation from the initial performance on four screens throughout the space.
베가 왕
维加王
ВЕГА ВАН
ALPHA LYREA
Beijing-based fashion designer Vega Zaishi Wang’s new Alpha Lyrae collection is very special. Silk dresses of her design were printed with galaxies, constellations, and nebulas, then backed with lightweight and flexible electroluminescent paper, making the garments glow. The name of the collection is quite clever: not only does it reference the space theme of the design, but Alpha Lyrae is the name of the brightest star in the constellation of Vega, which is also the designer’s first name.
