Здание, по мысли автора, образует единую мегаструктуру, сложную сеть, не раскладывающуюся на отдельные компоненты. Эта структура сравнивается с шерстяной вязкой. Внутри располагаются различные пространства, в том числе и общественные. Улицы как бы вливаются в гнущиеся башни, а лифты внутри них становятся поездами, взбирающимися по наклонным плоскостям и спускающимися в городской метрополитен
The building, according to the author, forms a single megastructure, a complex network that cannot be decomposed into separate components. This texture is compared to a wool knit. Inside there are various spaces, including public ones. The streets seem to merge into bending towers, and the elevators inside them become trains that climb inclined planes and descend into the city subway.
Noble Orlando is condemned by Queen Elizabeth I to remain forever young. The curse is fulfilled and Orlando goes through the centuries experiencing lives, partners, feelings and gender changes. The film is based on the classic novel by Virgina Woolf, in which an innocent aristocrat travels for 400 years in English history – first as a man, then as woman
Juliana Mori & Matteo Sisti Sette
“timeLandscape – wool rhythms” 2010. Part of timeLandscape series, 2009 – 2010. Video, audio, projector, speakers, custom patch (PD-Gem), sensor, wool engine. Variable dimensions and duration, loop. “timeLandscape – woolrhythms” is an interactive audiovisual installation in which a landscape is depicted from its multiple time possibilities and [re]composed through users’ real time interaction. The installation was developed in Biella, Italy, an area economically attached to textile industry, and deals with the cyclical perception of time and human, linear, interference on it. It gathers nature and artefact, by connecting a physical wool engine to digital imagery of daily cycles. By turning the wheel crank, users generate movement starting the engine. Through a sensor attached to the machine, software calculates the rotation speed, altering parameters for mixing audio and video fragments in real time. Every turn of the machine leads to different time thread combinations in response to the rhythm and speed of each interactor.
Orbit Chair in Black
In the collection, Lara Bohinc develops her stellar themes, finding inspiration in planetary and lunar orbits, whose gravitationally curved trajectories drive the lines and shapes of the chairs. Constructed from thin square rod, the chairs are elegant, minimal and delicate. They are finished in galvanised steel and wool fabrics by Kvadrat.
Graduate of the Danish school of design and the Central Saint Martins College of Fashion and Textile in 2000, Isabel Berglund, having already exhibited around the world, is now one of the creative artists who makes use of knitting in contemporary art. Using knitted wool to create sculptures, she creates archaic memories with the mesh, sometimes incorporating clothing fragments so you can curl up in the sculptures and experience the inside. An experimental space where human and material boundaries merge in a knitted web of emotion, her work puts the poetic insight of a child at our fingertips.
“Tron, a cult film from 1982, takes place in two parallel universes: the real and the virtual. Through a laser that converts real people into pixels, the world of Tron appears like a strange foreign world without sun, where androids live surrounded by 3D landscapes. The film has a strong retro character given by the era of production, which coexists with a high-tech nature. Both aspects are the basis of my collection. It consists in androgyn, straight silhouettes out of wool, leather, cotton and lack. Through different techniques I have created cube patterns on the surface of some of the materials. Giving the designs a technical yet minimalist character.”
After his organic digital sculptures, Swedish graphic designer and director Jon Noorlander comes back with a similar series titled Knitted. Still digitally, thanks to 3D modelisation softwares like Houdini et Nuke, he imagined abstract, free and organic shapes that make us think of wool threads, playing with different colors gradations.
Maria Roosen calls herself “an artist with green fingers”—fittingly, her sculptures and installations feature imagery that references both plant and human organs, often in conjunction. Though her practice incorporates wool, wood, and sometimes watercolor, Roosen is best known for her ability to manipulate hand-blown glass. She creates a playful irony in the contrast between the material’s hardness and the fluidity and voluptuousness of the shapes she creates with it.
He designs with meticulous attention to detail and longing for newness. Leather and wool are still his favourite materials. To get the effect of surprise he juxtaposes these two traditional materials with others, perhaps not typically associated with the textile industry. An important part of his design process is treating natural and synthetic fabrics with various methods, using heat, chemicals or other techniques, thus combining innovation and tradition.
Transparent Business Suit
“There is much to support the view that it is clothes that wear us and not we them; they mold our hearts, our brains, our tongues to their liking.” -Virginia Woolf. Uniforms group people in simplified versions of our social strata and take away our identity and individuality. In my transparent suit, I wanted to break the rigid impositions of the formal suit. Therefore, I juxtaposed the suit of a businessman and the naked body.
big pink bunny
Apparently, a controversial Viennese art group, Gelitin, has erected a giant pink rabbit on the side of an Italian mountainside where they plan for it to stay until 2025. According to Gelitin group member Wolfgang Gantner the bunny was “knitted by dozens of grannies out of pink wool” and is “supposed to make you feel small, like a daisy.” The artists added that they “want people to scale the rabbit’s sides and fall asleep on its stomach”. Apparently the intent of the project was to make climbers smile and provide them somewhere to lay back and relax. Gelatin members insist that the bunny is not just for walking around and that they are expecting hikers to climb its 20 foot sides and relax on its belly. Livestock are apparently urged to not eat the bunny as it is constructed out of straw-stuffed fabric.