LILLA LOCURTO & BILL OUTCAULT
La marioneta voluntariosa
la marioneta voluntariosa (2014) fue creada por los artistas Lilla LoCurto y Bill Outcault durante una residencia en la Universidad de Carolina del Norte en Charlotte, trabajando con la Facultad de Computación e Informática y la Facultad de Arte y Arquitectura. La marioneta está impresa en 3D a partir de la imagen escaneada de una figura humana y responde de manera atractiva en tiempo real a los gestos humanos espontáneos al leer los movimientos y expresiones de un espectador. Sus cuerdas son manipuladas por motores y software y hay dos sensores de profundidad que leen y analizan los comportamientos y gestos de los participantes. Las acciones posteriores de la marioneta están diseñadas para provocar más respuestas, creando un intercambio que se centra en la fragilidad e inseguridades del participante humano y planteando cuestiones de relevancia contemporánea. La intención del proyecto no era crear tanto un robot que funcionara perfectamente, sino más bien imbuir una marioneta obviamente accionada mecánicamente con la capacidad de solicitar un diálogo físico y emocional con un espectador.
LENNART VAN UFFELEN
Functionality Kills The Fun – Kast.03
Functionality Kills the Fun is a series of “broken” furniture that go by one principle: Functionality is overrated! Products become more interesting when they perform their task partly or even poorly. Most of the time the image or the emotional value that the object generates is what makes it so fascinating. In cases where the functionality is subject to the image you see that the pieces are more open for added value from the individual user.
MEESON PAE YANG
Macrospores
LUCAS SAMARAS
Chair Transformation Number 12
Bjarke Ingels
BIG
Vancouver House (twisting tower)
“we would build the building literally two feet off center, and as we poured each form, slowly the building would come back to center. it’s an incredible engineering feat of both horizontal and vertical post-tension.” Buro Happold
SPEECH TCHOBAN & KUZNETSOV
The Architect’s Eye
IRAN DO ESPIRITO SANTO
playground
Timo Toots
Memopol
Memopol-3 is an installation that visualizes visitor’s information field. It’s an Orwellian dystopia which is built on the technology of today. The tools of surveillance economy are abused to create a personal physical surveillance experience. Physical and virtual identities are quantified and processed into a stream of data. After the phases of data collection the visitor experiences a transcendent reflection of oneself that combines the past and the future, physical and immaterial into an audio-visual ceremony.
GIDEON RUBIN
吉迪恩·鲁宾
גדעון רובין
ギデオンルービン
Гидеон Рубин
Class of 1947
KISS & CRY
NanoDanses
FILE FESTIVAL
All the people we meet during our life time – what happens to them? An old woman’s memories of her past loves come to life in this magical miniature world. The gentle, melancholy story unfolds in real time before the audience through dance and live film. A set of highly expressive dancing fingers take centre stage. Choreographer Michèle Anne De Mey and film director Jaco Van Dormael have given their imaginations free flight. The projected miniature world that forms this ”nano performance” captures every nuance of human emotion. The audience also have the opportunity to follow, step by step, the making of the live film. The carefully crafted, diminutive stage settings are brilliantly expressive.
KOTO BOLOFO
Sous la peau
Koto Bolofo nació en Sudáfrica en 1959 y se crió en Gran Bretaña. Bolofo ha fotografiado y ha hecho cortometrajes para revistas como Vogue, Vanity Fair y GQ. Ha creado campañas publicitarias para compañías como Hermès, Louis Vuitton y Dom Pérignon. Bolofo vive en la Vendée, Francia.
MAD Architects
Absolute towers
Continuous balconies wrap around the sinuous volumes, graciously marking each floor, and establishing a distinct exterior appearance. Free of typical vertical barriers the towers represent a new type of residential architecture in the otherwise conservative city. The buildings consciously shift and rotate in response to the surrounding environment, establishing a dialogue between each other and the encircling community. Hovering above the skyline, the design seeks to provide every private dwelling with uninterrupted views over the city, lake and preserved greenbelt patches.
Daniel Rozin
Troll Mirror
The mechanical mirrors are made of various materials but share the same behavior and interaction; any person standing in front of one of these pieces is instantly reflected on its surface. The mechanical mirrors all have video cameras, motors and computers on board and produce a soothing sound as the viewer interacts with them. Troll Mirror was commisioned by Traget and is made of pairs of pink and blue troll dolls. Every troll doll pair can rotate so that the pink or blue troll face the front. The result is a colorfull reflection of the viewer’s outline and playfull colorfull transitions
JUSTINE KHAMARA
Жюстин Khamara
You could think that the work of Melbourne-based artist Justine Khamara was digitally manipulated. Though Justine actually hand-cuts the photographs to rearrange and collage them afterwards. Some of the collages were even cut into thin strips then woven. Seeking to disrupt photography’s smooth, two-dimensional surfaces, Justine collages and builds sculptures entirely out of portrait photographs.
Philip Vermeulen
Fanfanfan
Philip Vermeulen toont de installatie Fanfanfan in het Kunstenlab, waarin hij natuurkundige verschijnselen als licht, geluid en beweging manipuleert. Het kinetische ‘hypersculptuur’ beweegt met zo’n hoge snelheid dat de fysieke eigenschappen van de materialen voor je ogen lijken te vervormen.
ALEX BEIM & DAITO MANABE
Sound Clouds
JONATHAN SCHIPPER
THE SLOW INEVITABLE DEATH OF AMERICAN MUSCLE
This sculpture, by Jonathan Schipper, is a machine that advances two full sized automobiles slowly into one another, simulating a head on automobile collision. The gear system can be adjusted so that the crash occurs over the period of a few days, up to one year or more. The movement can be made so slow as to be invisible.
ALLEN JONES
ألين جونز
亚伦·琼斯
앨런 존스
Аллен Джонс
アレン·ジョーンズ
אלן ג’ונס
Jones is best known for his sculptures, paintings and prints incorporating female figures. His sexually charged early works, with their provocative eroticism, have, over the years, given way to more stylised, lyrical compositions often involving elements of performance such as fashion shows, dancing and cabaret. more…
DIANA ENG
INFLATABLE DRESS
Diana Eng, in collaboration with Emily Albinski, created this gorgeous dress way back in 2003, which ended up making its way on the cover of ID Magazine. The designers used this project to explore how they could use electronics to change the shape and color of a gown. The dress inflates to allow you to change it’s shape. Pump up the back or the sides to change its silhouette.
The designers made no attempt to hide the electronics, rather, they exposed the spaghetti-ball of wires and components as the main aesthetic.
CARSTEN HÖLLER
卡斯滕·奥莱
Карстен Хеллер
Slide
“When people are on their way down a slide, they often shout for pure joy. I’m interested in the aspect of letting go. Once you let go, you travel without motivation to some specific place. It’s a very special state of mind. Maybe “happiness” (or “pleasure”) isn’t the right word, but it has to do with relief or even freedom.”
CLAP STUDIO
Installazione della nebbia
Un’installazione progettata da Clap per Minsk, in Bielorussia, realizzata da volontari della città stessa. Per il concept di questa installazione Clap parte dalla storia di Minsk, città che durante la seconda guerra mondiale è stata devastata. Le bombe distrussero l’80% degli edifici e la città non fu ricostruita fino agli anni ’50. Ecco perché la popolazione di questa città ricorda questi tempi come qualcosa di spiacevole e molti di loro preferiscono non parlarne. Lo studio di progettazione parte da un volume geometrico che rappresenta in modo concettuale il volume di un edificio. Immaginano che le bombe cadano su di lui distruggendolo, generando nuove aperture e volumi nuovi di zecca. Queste nuove aperture risultano ingegnosamente in un ingresso e un belvedere in alto. La distruzione lascia il posto alla funzione genera tribune, scale e sedili. Dall’interno, la vita si fa strada sotto forma di albero, superando l’altezza dell’installazione stessa.
