Jeppe Hein

Path of silence
Inspired by the remarkable topography of the landscape of the Kistefos Sculpture Park, the stepped slope and terraces beside the Industry Museum, where the power and energy of water is directly visible and gives the site a special quality, a free form is adapted to the shape of this landscape, thus creating a dialogue between the place and the object. The sculpture is defined by an extensive mirror labyrinth that encloses three spaces of silence: A contemplative space, where an enclosure of high mirror steles promotes an upward glance to the sky, a natural space, where a tree inside the sculpture links the inside with the outside and an active space where walls of water appear and disappear, thus offering ever-changing perspectives of the surroundings.

Dan Holdsworth

Acceleration Structures
Dan Holdsworth’s ‘Acceleration Structures’ explores and examines the topography of three great Alpine glaciers, capturing their fragility and intricacy like no artist has done before. Using geomapping technology, Holdsworth’s films guide the viewer through the skeletal landscape of each glacier, giving a unique perspective and a new understanding of their geography.

X-Architects

Architectural Constellation
To intensify the experience of visitors with the particular surrounding, X-Architects imagined “a constellation of architecture strategically placed on the vast terrain”. In fact, using the existing topography, the project puts in place dune shaped units, offering views of sabkhas. Moreover, other elements placed on the highest point of the site, grow vertically like the desert flower Cistanche Tubulosa and propose views towards the stars.

Christoph De Boeck

Staalhemel

The intimate topography of the brain is laid out across a grid of 80 steel ceiling tiles as a spatialized form of tapping. The visitor can experience the dynamics of his cognitive self by fitting a wireless EEG interface on his head, that allows him to walk under the acoustic representation of his own brain waves.The accumulating resonances of impacted steel sheets generates penetrating overtones. The spatial distribution of impact and the overlapping of reverberations create a very physical soundspace to house an intangible stream of consciousness.‘Staalhemel’ (‘steel sky’, 2009) articulates the contradictory relationship we entertain with our own nervous system. Neurological feedback makes that the cognitive focus is repeatedly interrupted by the representation of this focus. Concentrated thinking attempts to portray itself in a space that is reshaped by thinking itself nearly every split second.

David Bowen

The other side
This installation automatically creates a three-dimensional relief carving of the current cloud formations and ocean surface conditions on the opposite side of the earth from the location of the gallery space. Using satellite data from the Nasa Earth Observing Information System and the GPS coordinates of the gallery, the installation obtains a current image of an approximately six hundred square mile area on the opposite side of the earth from its location. Using custom software, the system converts this image into a relief model that is sent to an onsite CNC machine hanging upside down in the gallery space. The CNC machine carves the relief in pink foam with its upside-down orientation directly echoing the cloud and ocean topography on the opposite side of earth.

ABALOS + SENTKIEWICZ

Estacion de alta velocidad
The railway station has been designed in accordance with the urban role assigned in the proposal for the international competition and the urban planning and landscape further developed. The station serves as a starting point of a new urban project, which re-establishes the connectivity between the North and South of the city and leads to a large public park where the roof is an integrated part giving its geometry and topography to the volume.

Balint Bolygo

Trace II

Trace II is a sculptural device that alludes to scientific discoveries and the experimental apparatus of science. It is essentially a mechanical computer that draws its analogue programme from a revolving plaster head. The carefully balanced mechanism slowly measures the topography of a cast human head and translates its undulations onto a rotating cylindrical surface. The result is an evolving topographical diagrammatic depiction that is truly unique every time.

KOHEI NAWA

كوهي ناوا
名和晃平
КОХЕЙ НАВА
foam

Japanese artist Kohei Nawa has immersed visitors at the aichi triennale in undulating sea of bubbling matter, surrounding the walls and floor in porous, cloud-like material. ‘Foam’ inhabits an almost pitch-black room, creating an ethereal quality that seems aesthetically otherworldly walking through the space, the topography of the puffs creates a massive terrain of floating material, stiff enough to stand in place, yet copious in its fragility and delicacy.

Katrín Sigurdardóttir

卡特琳·西于尔扎多蒂
КАТРИН СИГУРДАРДОТТИР
dining room

With architecture and landscape as sources, the artist’s sculptures use scale and distortion to focus attention on the space and perception between the viewer and the object. Using the vernaculars of architecture and topography, Sigurdardóttir creates objects with a prismatic spirit that fractures a viewer’s perspective.

Ryota Matsumoto

Recursive Topography of Uncertainty Mixed Media

Nieto Sobejano Arquitectos and realities:united

Contemporary Art Centre in Cordoba
BUILDING FAÇADE WITH AN INTEGRATED LIGHT AND MEDIA INSTALLATION

To transform the façade into a light and media display without fundamentally changing its solid appearance as envisioned by Nieto Sobejano turned out to be the biggest challenge in the project. The façade is accordingly designed to deliver a tactile and solid appearance in the daytime while it turns at night into a unique and dynamic communication wall that reacts very specifically to the architecture. The 100-meter façade consists of 1,319 hexagonal, recessed and pre-fabricated “bowls” on different scales. Each of the bowls serves as a reflector for an integrated artificial light source. The intensity of each lamp can be controlled individually, forming a huge irregular low-resolution grey scale display. The thorough immersion of the “pixel-bowls” – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. During the day, the façade shows a three-dimensional landscape with no sign of being a media facade. Additionally, this tectonically modulated surface topography is characterized by a playful composition of light and shadow that constantly changes with the movement of the sun.

CASPAR LAM AND YUJUNE PARK

Alphabet Topography