Signe Lidén and Espen Sommer Eide
Vertical Studies: Acoustic Shadows and Boundary Reflections; Water Tower Sint Jansklooster In their new collaborative work, Vertical Studies: Acoustic Shadows and Boundary Reflections, Signe Lidén and Espen Sommer invite participants on a journey to a 46-metre-high abandoned water tower in Sint Jansklooster. The tower has been re-imagined as a vertical field-lab where Lidén and Sommer discuss their ongoing research into connections between sound, history, wind and weather. To this end they have constructed a range of special instruments to record and playback sounds in the vertical dimension. The participants on this journey will experience live outdoor vertical studies and a vertical soundscape shaped by Eide and Lidén that ascends the tower’s spiral staircase.
An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.
A pool of dark water swirls in a terrifying spiral, never stopping, never emitting light. It looks black and bottomless. It is the whirlpool to end all whirlpools – a spooky mixture of the vortex that sucked down the Pequod and an illustration from Stephen Hawking’s latest work on black holes. Yet this awe-inspiring phenomenon is an exhibit in an art gallery – the latest sublime spectacle from Anish Kapoor.
Infinite Staircase (Umschreibung)
Permanently installed in the atrium of an office building in Munich, two spiral staircases interlock with each other, creating a continuous loop in the form of a double helix. To plan the work, a double helix was projected onto the surface of a sphere. The heights of the steps vary slightly to compensate for the curvature of the staircases, growing shallower at the poles. Precise engineering was necessary to enable the structure to balance on one point.
The continuous loop of Umschreibung contrasts starkly with the office courtyard in Munich where it is installed. Umschreibung – which can be translated as ‘circumscription’ or ‘periphrasis’ – proposes a movement without destination, a space defined by motion rather than walls.
Les micro-organismes peuvent-ils aussi être des artistes? Comment notre relation à ces créatures change-t-elle, après qu’elles sont vues dans un contexte artistique et théâtral? À la recherche d’un micro-organisme qui aurait les qualités d’un interprète, j’ai été présenté à C. elegans; un petit ver, de moins d’un millimètre de longueur, qui se déplaçait aussi élégant que son nom l’indique et la première créature à avoir séquencé tout son génome. J’ai été intrigué lorsqu’un chercheur m’a dit que, pour distinguer les vers au microscope, il utilisait différentes mutations qui modifiaient la façon dont ils se déplaçaient. Certains se déplacent en spirale, d’autres ont roulé ou ont des contractions et certains sont devenus morbides obèses à cause de leurs mutations. Dans mon installation, j’ai cinq boîtes de Pétri remplies de cinq vers mutés différents, chacun se déplaçant légèrement différemment. Ces cinq groupes d’interprètes sont filmés avec un microscope USB diffusé en direct sur les cinq écrans. J’ai écrit un logiciel spécial qui suit les vers et traduit leurs mouvements en sons, faisant d’eux les interprètes non avertis de la musique dans le monde macroscopique au-dessus de leurs têtes. Alors que les chercheurs sont presque comme des dieux pour ces vers impuissants, les contrôlant de leur première à leur dernière division cellulaire, j’espérais donner aux vers le pouvoir de nous affecter également dans notre monde.
Expressing the vibrant dynamism of nature—from billowing cosmic clouds and swarming masses to radial bursts, spiraling vortices, and turbulent waves—Star Ceiling explores the tension between the rational and the transcendent, between the human and the non-human worlds. Villareal’s artwork gives life to inanimate matter through the invisible medium of code and induces a deep connectedness and rare experiential awareness.
This unique washbasin by HighTech Design was inspired by the spiral shape of ammonite shell. In case you didn’t know, Ammonites are an extinct species of free-swimming molluscs who lived in the ancient oceans around the same time that the dinosaurs walked the Earth and disappeared during the same extinction event[…]
Redefining the architecture of the espace Louis Vuitton are eight monumental pieces by internationally-renowned japanese artist mariko mori. The exhibition ‘Infinite Review’ amasses sculptures and experiential installations in a series of works that metaphorically reflect the never ending circulation of life and death as well as fragments from the artist’s personal experiences. Towering above visitors and traversing the space between the floor and ceiling are a triptych of luminous spirals. The soaring ‘infinite energy’ series is a visualization of an invisible force, felt and seen through their unseen participation with gallery entrants.
Mexican Space Agency
WINNER OF THE MEXICAN SPACE AGENCY’S CONTEST TO DESIGN A NEW HEADQUARTERS, SLOT’S CAMPUS DESIGN RESPONDS TO THE AGENCY’S NEED FOR COHESION, INTEGRATION AND COMMUTABILITY –VALUES THAT BECAME THE PROJECT’S INFORMING PRINCIPLES– EXPRESSED IN THE CIRCULAR LAYOUT FOR CONSTITUENT STRUCTURES. PEDESTRIAN PATHWAYS SPIRAL OUTWARD FROM THE MAIN PLAZA LYING AT THE HEART OF THE CAMPUS AND, AS IF BENDING WITH THE GRAVITATIONAL PULL OF THE MAIN BUILDINGS, VEHICLE ACCESS WAYS WIND IN AN AROUND THE CAMPUS SPACE.
The design of a global atmospheric research center employs the sphere for both its iconic and volumetric qualities. . .
A set of spheres are repeatedly scaled, each tangent to the last, and dissected by orthogonal cuts to create distinctive spaces with both soft and hard thresholds that suit the unique functions of each program. The complex contains: simulation laboratories; a research lab; control center; administrative offices; auditorium; and maintenance and public spaces. Users enjoy a binary experience when inhabiting the convex and concave surface of the spheres as they circulate between them in a spiral manner. The contrast between orthogonal and spherical, in addition to material and atmospheric transformations, reflects and celebrates the nature of the building as a research institute studying the air of the future.
Giving new life to materials that others have discarded, designer henry baumann has transformed wooden cable drums, commonly found on building sites into the ‘one cut’ spiral. the sculptural installation is formed using only slice through the original material, ensuring that there are no unwanted leftovers. the project is based on the concept of creating something new without acquiring any additional waste, or needing many alterations or additions done to it.
The audience has been invited to experiment with various spatialised sound effects applied to their vocalisations that were synchronised with the movement of the balls falling along 35m long track. The interaction starts with insertion of the ball into the microphone. Then recording starts and after the recorded sound stops the ball is released to slide down along the track.
kaleidoscopic crystal floor
dutch artist suzan drummen’s large-scale floor installations are mesmerizing and complex circular patterns made out of mirrors and brightly colored glass. the fractal-like arrangements feature ornate and elaborate circles growing exponentially out of each other and vibrant rings of spiraling colors winding into the surface of the floor. they are composed of crystals, chromed metal, precious stones, mirrors and optical glass. a sensory experience, and visually stimulating, the glittering installations play with the architecture of the space — climbing up walls and sweeping across the surfaces — examining the idea of illusion and optical effects.
The interaction is simple, movement creates paint. Hidden in the simplicity are layers of subtle details. Different aspects of the motion: size, speed, acceleration, curvature, all have an effect on the outcome: strokes, splashes, drips, spirals; and is left up to the users to play and discover. The installation is designed to work with any number of people and is scalable to cover small or large areas. While the installation is suitable for a single user, when multiple users are present a new dynamic emerges. A user-to-user interaction is born when the audience starts playing with each other via the installation, throwing virtual paint on each other, trying to complete or destroy each other’s paintings.
Coffin’s Untitled (Spiral Staircase) takes the idea of a simple architectural fitting to an absurd extreme. Reminiscent of Escher’s Infinite Staircase, Coffin’s winding steps are moulded into a circle, inexhaustibly twisting in impossible logic made real. By remodeling the steps, Coffin strips the staircase of its function, turning a thing which is normally engaged with physicality into a dizzying conceptual game. Through his humorous constructions, Coffin bridges art history and everyday experience, subverting the preconceptions of both.