Ray Kunimoto

REI – Listening to Silence
This work consists of a jet-black sphere containing 16 speaker units, six loudspeakers suspended from the ceiling, and a cubic structure. It creates an acoustic space by reverberating the sound of water from the sphere and the surrounding environment using four omnidirectional micro- phones installed on both the structure and the loudspeakers. The oceans evaporate, rain falls, and rivers continue to flow forever without any kind of consciousness. REI moves from the conscious to the subconscious by superimposing the sound echoing from one’s own body and the sound of water echoing from the sphere, which is a metaphor for this world.

Alisa Andrasek

Cloud Pergola
Inspired by the cloud formations and weather events, this mathematized cloud plays with visitor’s perception. Movement through the structure generates a series of dynamic interference views in its deep fabric, drifts and ruptures in visibility. A sea of redirecting vectors is pulling the visitor like an invisible gravity force through the fabric.


Light Tree: Interactive Dan Flavin
HYBE’s Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE’s work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and color changes when touched by viewers. Lighting here is divided into front and back, and colors are programmed to maintain complementary colors. The front lighting constantly interacts with colors on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.

Lundén Architecture Company

Another Generosity
Another Generosity explores a new structure that consists of a membrane holding two basic elements: air and water. The simple structures are combined to create a visible and dynamic cellular structure. The inflated elements mediate between the natural and built environment. They respond to external and sometimes unseen stimuli, creating a new kind of experience, a momentary hesitation that heightens our awareness of our surroundings.

Nicolas Bernier

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

Laurent Grasso

OttO (solo exhibition)
OttO (the film)
Structured around a set of brand-new works and around the eponymous film, the exhibition interconnects sacred spaces, animistic beliefs and scientific theories. Each of these works concerns imperceptible and yet active phenomena that have in common the real or supposed effects of electromagnetic waves, vibrations and frequencies. Perrotin Paris

Ying Yu


Humans, as social beings, use language to communicate. The human voice, as a biometric authentication mechanism, is constantly used throughout daily life applications, such as speech recognition, speaker verification, and so on. Currently, language-based communications mainly fall into two categories: voice over air, and voice over internet protocol. Can we add a new dimension for voice communication such as a wearable material? If so, how could we shape matter in order to physicalize vocal information?

airMorphologiesis an interactive installation that uses soft materials, such as silicon, fabric, and air, to realize these physicalizations. The human voice controls the actuation of a soft wearable structure, changing the appearance of the human body.

Golan Levin, Chris Sugrue and Kyle McDonald

The Augmented Hand Series
The “Augmented Hand Series” (by Golan Levin, Chris Sugrue, and Kyle McDonald) is a real-time interactive software system that presents playful, dreamlike, and uncanny transformations of its visitors’ hands. It consists of a box into which the visitor inserts their hand, and a screen which displays their ‘reimagined’ hand—for example, with an extra finger, or with fingers that move autonomously. Critically, the project’s transformations operate within the logical space of the hand itself, which is to say: the artwork performs “hand-aware” visualizations that alter the deep structure of how the hand appears.


تيم هاوكينسون
Möbius Ship

The ambitious and imaginative structure of Hawkinson’s sculpture offers an uncanny visual metaphor for Melville’s epic tale, which is often considered the ultimate American novel. Möbius Ship also humorously refers to the mathematical concept of the Möbius Strip. Named after a nineteenth-century astronomer and mathematician, the Möbius Strip is a surface that has only one side, and exists as a continuous curve. Its simple yet complex spatial configuration presents a visual puzzle that parallels Hawkinson’s transformation of the mundane materials into something unexpected.

tangible media group

Ken Nakagaki, Yingda (Roger) Liu, Chloe Nelson-Arzuaga, and Hiroshi Ishii
TRANS-DOCK is a docking system for pin-based shape displays that expand their interaction capabilities for both the output and input. By simply interchanging the transducer modules, composed of passive mechanical structures, to be docked on a shape display, users can selectively switch between different configurations including display sizes, resolutions, and even motion modalities such as rotation, bending, and inflation.
In our paper accepted to TEI 2020, we introduce a design space consisting of several mechanical elements and enabled interaction capabilities. Our proof-of-concept prototype explores the development of the docking system based on our previously developed 10 x 5 shape display, inFORCE. A number of transducer examples are shown to demonstrate the range of interactivity and application space achieved with the approach of TRANS-DOCK.


HALO is a large scale immersive artwork which embodies Semiconductor’s ongoing fascination with how we experience the materiality of nature through the lens of science and technology. Taking the form of a large cylinder, the structure houses a 360-degree projection of scientific data while an array of 384 vertical wires are played by the same data, to produce the sound. The work draws the viewer into its centre in order to inhabit the results of particle-collisions, produced by experiments taking place at CERN, in Geneva, Switzerland.

Godfried Toussaint

The Geometry of Musical Rhythm: What Makes a “Good” Rhythm Good? ” is a book on the mathematics of rhythms and drum beats. It was written by Godfried Toussaint, in order to study rhythms mathematically, Toussaint abstracts away many of their features that are important musically, involving the sounds or strengths of the individual beats, the phasing of the beats, hierarchically-structured rhythms, or the possibility of music that changes from one rhythm to another. The information that remains describes the beats of each bar (an evenly-spaced cyclic sequence of times) as being either on-beats (times at which a beat is emphasized in the musical performance) or off-beats (times at which it is skipped or performed only weakly). This can be represented combinatorially as a necklace, an equivalence class of binary sequences under rotations, with true binary values representing on-beats and false representing off-beats.

imagen: Ethan-Hein-blog


Inverso Mundus
The title of the work, Inverso – both an Italian “reverse, the opposite” and the Old Italian “poetry,” and Mundus – the Latin “world,” hints at a reinterpretation of reality, a poetic vision. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.

Anne de Boer


Des éléments qui semblent essentiels à la pratique de De Boer sont présentés aux algorithmes, aux fonctions de lecture aléatoire, aux randomiseurs ou à d’autres structures codées. En soumettant son propre matériel à ces facteurs décisifs, l’œuvre est réarrangée en permanence selon ces chemins algorithmiques en constante évolution.


matthew bird

In a new moving-image work by Melbourne-based artist and architect Matthew Bird, two bodies move across the land, working with large cylindrical instruments. We witness them map and survey a terrain analogous to universal physical and psychological locations, each revolution marking a paradoxical attempt to pin an earthly position through perpetual movement. Playing on the human need to understand our relationship to the people and places around us, Parallaxis considers the potential for architectural processes and measurements to act as a foundation for structures of understanding.


The photographic images Niv Rozenberg creates allows us to see the urban environment through a new perspective. With New York City and Tel Aviv as his subjects, he “breaks the visual and spatial congestion of the city by constructing an archetypal form, isolated from function and separated from the city’s total urban structure.”

Tokujin Yoshioka

transparent mannequins

Considered ‘grid bodies’, or the ‘transparent body installation’ yoshioka has specially conceived these figures to highlight issey miyake’s garments. in room A, one finds the 1970s collections of miyake dressing figures composed out of 365 laser cut cardboard parts, arranged as a grid structure to create a futuristic human body. they are adorned by pieces that investigate miyake’s constant innovation in fabric-making, and his deep respect for tradition.


Materiality and process are central to Rebecca Ward’s practice and evoke “architectural garments” ripped, unwoven, and re-stitched from fleshtoned canvas duck, leather hide, and silk organza. In her canvas works, the artist removes the weft (horizontal) threads of the fabric to reveal the underlying stretcher bars, highlighting the physical structure of the painting itself. Ward’s artworks reveal and obscure, and by their nature, entice viewers to closely investigate contrasts in line and material, modulations in color, and multi-dimensional layers.


TranStructures Big cities are unceasingly in motion: growth, decay, changes. São Paulo is the source of my look and thoughts on metropolis. Recompose, redo continuously, from the probable to the improbable, allow us to try infinite possibilities that can lead us from sublime to disaster. Billions of hyperexpressions are induced always at random. The mechanisms that regulate the normal, the pre-established, rupture allowing the appearance of the possible others.


Филиппа Рамета

Born in 1961, Philippe Ramette is a French conceptual artist who plays with the viewer’s mind. Ramette creates gravity-defying photographs that appear to be digitally manipulated, using cleverly designed weight-bearing structures (or lead weights for the underwater shots), but in fact they are real world settings that were carefully arrangement, in order to achieve these impressive scenes. In Ramette’s surreal photography, surrealism literally invades reality.

Mattia Paco Rizzi + Jessica Bergstein-Collay

‘Taumascopio’ is an art installation designed and realized by parisian architect-artist mattia paco rizzi for the 2014 kanal playground festival in brussels, belgium. the structure is completely covered with mirrors and as a result, offers a complete visual camouflage along the molenbeek’s canal. as its exterior panels fold, the overall massing creates a kaleidoscopic effect that reacts to heat. during the temperature’s evolution throughout the day, the surfaces present an ever-changing reflective effect. ‘the ‘taumascopio’ invites us to reflect in poetic vein on public space, like a box of delights that gives us multiple visions and allows us to see the city differently,’ says rizzi. ‘the mosaic of reflections sends our thoughts in new directions and invite us to create new ideas.’

Joe Diebes

oyster is a new opera (in progress) about a surprising precursor to last.fm and Pandora. In the 1960’s, renowned American folklorist Alan Lomax developed a wildly ambitious system called cantometrics for coding and analyzing folk songs from every corner of the world. The opera is structured as a public lecture of Alan Lomax’s folk song analysis as demonstrated by four singers, who embody the IBM360 mainframe computer used to correlate his vast amounts of data. Working with the BOTCH vocal ensemble, I am reconstructing the folksong styles from regions as disparate as Bali, West Africa, and Central America using only the data from Lomax’s study. Things like melodic complexity, vocal blend, and nasality, are adjusted by the singers as they circumnavigate the globe. This data vocalization is further mediated by the ensemble’s distinctive extended vocal techniques, and is accompanied by a film narrative that unravels connections between cybernetics, surrealism and ethnography. The film also features a wide range of material drawn from the Alan Lomax archive at The Library of Congress.
oyster will be performed by BOTCH ensemble: Christina Campanella, Michael Chinworth, John Rose, and Saori Tsukada

Pierre Cardin

Palais Lumière
Pierre Cardin and his architect nephew Rodrigo Basilicati have axed plans for their 60-storey, three-finned Palais Lumière (Palace of Light) skyscraper, due to criticisms about how the building would fit into the Venetian landscape […] Opposition and criticism over the glass skyscraper began in 2012. Locals have been concerned over the impact the 245 metre-high structure would have on the Venetian landscape and its medieval city.


A Bunch of Heavy Lines

The liveliness of buildings and stationary structures at the Headlands is a major draw and source of influence for my work. I have noticed that architectural elements of my studio in the basement of building 960 formed an interesting dialogue with my pursued work.


רמונד קנה
Раймонд Кено
Cent mille Milliards de poèmes
Since its arrival (the Oulipo), the rules of the group were set out as follows: “We define potential literature as the search for new forms and structures that can be used by writers in the way they will most like.” “Potential” refers to something that exists in power in literature, that is, that is found within language and that has not necessarily been explored. The favorite tool for study and production is the contrainte, an arbitrary formal restriction that can create new procedures, new forms and literary structures that can generate poems, novels, texts. Over the years, dozens of different contraintes have been explored, from those somehow related to the riddle, such as the palindrome, the acrostic, the lipogram, of which the playful aspect has certainly not been underestimated, with forms more directly related to the codes of exact sciences, such as combinatorial calculus, set theory or graph theory. Among the numerous definitions of the Oulipo provided by the members themselves, one is very elegant and significant: “An Oulipiano is a mouse that builds the labyrinth from which it is proposed to come out later”. Queneau often explained that some of his works might seem simple pastimes, simple jeux d’esprit (mind games), but he remembered that topology or number theory also arose, at least in part, from what was once called “funny mathematics“.


file festival

“SIMULACRA” is an optophysical experimental arrangement. At its heart are four LCD monitor panels, which are assembled in the form of a hollow square, and installed at eye level in the middle of the room. The ensemble appears internally gutted, overgrown and embraced. A tangle of cables and control devices pours out of the middle of the square. All around it several magnifying lenses dangle from chains. The imageless glaring ray of the monitors looks as if the images had fallen out of them. What remains is the essence of the medium: Light.It is an impressive, wondrous experience when images suddenly appear from the pure white by the mere glance through a seemingly transparent film. But if you turn the lens in front of your eyes, the polarizing structure of the film creates wild color shifts or even complementary negative images.


توماس ساراسينو
Space elevator / Spark

Black polyester rope, plastic cable ties, metal frame.

Having studied as an architect, Tomas Saraceno incorporates physics, engineering, and aeronautics into his interactive and evolving artistic structures. Using arachnology, or the study of spiders, to create structures that suggest alternative ways of living, he employs tridimensional webs to better understand how unique building blocks create distinct forms. Saraceno places spiders in cubic frames and leaves them to spin webs, rotating the cubes at various intervals to introduce elements of freedom


moon tensegrity membrane structure

This is an experimental housing complex that sought to regenerate the shops-cum-houses in an old area of Hanoi, Vietnam. This district, popularly known as “the 36th street district”, is composed primarily of houses inhabited by traditionally large Chinese families. The buildings have narrow frontages and an unusually extended depth of 70-80 m. These high-density, low-rise buildings were considered to be a comfortable domestic environment until the changes of government in Vietnam during the 20th century.
Han,” became such a high-density city (1,000 people per hectare} that many families began to live together within one unit and even to transform courtyards into actual rooms. As a result the standard of living deteriorated.


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.


Dynamic Structure 1586