Nov 29, 2010

Cityscope_Marco Hemmerling






It's always great to see people coming up with new and creative installations of urban street art. German designer Marco Hemmerling has created a multi-faceted installation in Cologne, Germany called Cityscope which reflects fragments of surrounding buildings.

While moving around the sculpture, the reflections on the glass continuously change. In this way, the viewer becomes an integral part of the installation and its complex reflections. As day becomes night, the installation takes on a whole new life. The structure is lit from within and the reflective, color-distorting film on its surface becomes transparent adding to its fragmented perception theme. Love the versatility and beauty of this piece!

arte efimero

Arte efímero que te cambia

De la unión entre arte y espectáculo nace "ON & ON", la primera exposición dedicada en su totalidad al arte efímero. Si nos acercamos a la Casa Encendida estos días podemos ver obras creadas por 14 artistas contemporáneos. Obras pensadas especialmente para ser expuestas en la Casa Encendida (site specific)






CÉLESTE BOURSIER-MOUGENOT

Nos ofrece una de las instalaciones más espectaculares y más divertidas de la muestra. La pieza consta de  una serie de guitarras eléctricas y platillos conectados a unos amplificadores. Una treintena de pájaros completan el reparto, cuando se colocan sobre los instrumentos se convierten en compositores accidentales. Se mezcla el azar y la contraposición de los sonidos propios de la naturaleza con los sonidos mas artificiales.


ANYA GALLACCIO


Anya despliega en su obra todos nuestros sentidos. Por un lado una habitación de chocolate nos hace sentir el sabor del arte. Unas esculturas circulares con velas nos transpolan a una iglesia barroca, sensación que se incrementa por la voz de una soprano que juega con la percepción del espectador.

MARTIN CREED

La obra que nos trae a Madrid es una reinterpretación de la pieza con la que ganó el Premio Turner en el 2001. Su producción artística nunca ha estado exenta de cierta polémica.

KITTY KRAUS

La instalación de Kitty consta de un bloque de hielo y tinta sobre el que coloca una bombilla. El calor que produce la luz eléctrica va fundiendo el hielo y dejando que la tinta se desparrame por el suelo de manera aleatoria. El resultado es una abstracción motivada por el azar.

ROMAN SIGNER


Convierte al espectador en un cazador. Cazador de tendencias? 






GREGORIO ZANON


De la artificialidad propia de la tecnología, emerge gracias a Gregorio Zanon formas orgánicas con claros paralelismos con estructuras coralinas. Artificialidad versus naturaleza.



CLAIRE MORGAN


Nos habla de aquello que por cercano nunca logramos conseguir.




CHIHARU SHIOTA

Nos ofrece la obra más espectacular de la exposición. Los restos quemados de un concierto de piano, nos transmiten una sensación de desolación. Una maraña de hilos negros nos recuerdan todo lo no visible, la música que ya no oímos, la atmósfera recreada, los pensamientos del público..... Todo lo que fue y ya no es. Una oscura sensación del pasado perdido.

Nov 27, 2010

Nervous System [Profile, Cinder, Processing]


Nervous System is a small collective founded in 2007 by Jessica Rosenkrantz and Jesse Louis-Rosenberg with aim to create innovative products using physical and computer based algorithmic tools. Jessica Rosenkrantz graduated from MIT in 2005 and holds degrees in Architecture and Biology. Jesse Louis-Rosenberg also attended MIT, majoring in Mathematics. He previously worked as a consultant for Gehry Technologies building modeling and design automation. Mixed backgrounds have allowed the team to deploy innovative approaches to product design resulting in objects that are both engaging visually and in the process they were created.
The diversity of output ranges from jewellery to furniture generally inspired by nature – decay, cell formations, recursion, landscape. Using Processing, MeshLab and most recently Cinder, most products relish the complexity aesthetic resulting in intricate creations made by the machines – 3d printers/laser cutters/CNC, etc. Seen as methods for output, the team employs computer algorithms to derive and extract still forms. Driven mainly by aesthetics, these objects are beautiful, unique, made in porcelain,  stainless steel, wood, nylon, wool felt, rubber and more.

Leaf shaped earrings with a pattern that contrasts a primary structure of organic curves with a small scale geometric texture. A two stage growth process generated the pattern. First we grew a sparse open tree of veins; afterwords, we introduced a second set of signals to grow the more perpendicular micro-scale pattern.

Most recently, for the Reaction show at Rare Device, the team recreated two of their design algorithms as interactive ipad applications using Cinder framework that allow visitors in the gallery to engage in our process and try their hand at the generative. The two applications are Cell Cycle, which creates cellular bracelets and rings for 3dprinting, and Xylem which simulates leaf vein formation.
The Cell Cycle app uses a physics simulation to sculpt a mesh for 3dprinting. Visitors can use multitouch controls to stretch, twist, and scale the basic form. Using the control panel on the left they can change the basic mesh parameters and define boundary curves along the edges of the piece. Most significantly, they can also touch anywhere on the model to subdivide cells and introduce additional springs to the system. (video)

The Xylem app allows people to paint on and erase horomone sources that will effect the venation structure’s growth. (video)

We can’t deny the beauty of these objects but one can’t help but question the static nature of them. Algorithms are as much about variables as they are about output. Freezing them in time, giving them static shape questions how viable is one objects to the next. If they exist in the range, does only personal aesthetic preference decide importance of one over another and where the process plays such an important part how can we ignore their pre and postdecessors. Can their physical manifestation exist not just as a single frame and how does this affect their validity. Are these just decoration and if so, does it then matter if they were created using generative tools or just simply drawn as they are? Just a thought..

The team nevertheless continues to inspire, creating some of the most wonderful objects out there. While the process may be somewhat questionable I do enjoy their beauty. It’s also very exciting to see what is possible and when it comes to keeping up with the manufacturing methods Nervous System definitely appear to be few steps ahead.
Nervous System | Flickr | Shop
See also Jared Tarbell [Profile, Events]

Related Posts with Thumbnails

Nov 26, 2010

Geodesic domes

Abandoned Corringie Settlement at Wilson's Patch, 65km north of Leonora.

In the mid-1980s Victor and Joan Isaacs moved to Isaacs' birthplace at Wilson's Patch, a bleak and stony terrain 80km north of the remote mining town of Leonora. The couple wanted to set up an alcohol-free settlement in which their nine children, their families and others could live isolated from the destructive influences of city life.
they salvaged building materials from abandoned mining sites and rubbish dumps and built huts.
The camp seems to have been alive an active for years, and it was abandoned around the year 2000.
One of the Buckminster Fuller-designed geodesic domes.Images from Max Jefferies.
Text from http://www.artificialowl.net

Nov 25, 2010




Embarrassing but true: this past weekend, I finally threw away the carved pumpkin that had been living on my front steps since before Halloween. It was growing some pretty nasty stuff, but stuff neither as nasty nor as neat as the molds featured in After Effects a series of dilapidated scale models built and photographed by Daniele Del Nero. Del Nero describes the project’s impetus as “…the sense of time and destiny of the planet after the human species.” It sounds as joyful as the 1994 Asylum series by James Casebere (another artist working with scale models, if you like that sort of thing). I think what’s more compelling about Del Nero’s models is how simultaneously dangerous and fragile they are. If you eat this stuff that covers them, you could die; if you touch this stuff that covers them, you will destroy the fuzzy colonies that have been meticulously cultivated across their surfaces.
Del Nero builds these models out of black paper and covers them with flour and small samples of mold. May I suggest simply using pumpkin?
Alex

Nov 24, 2010

City of holes




Some new images of the ongoing laser-scan project taking place in the caves beneath Nottingham, England, have been released. "The Nottingham Caves Survey is in the process of recording all of Nottingham’s 450+ sandstone caves," the organizers explain.


From malting caves and circular kilns to a 19th-century underground butcher, via the Shire Hall and, of course, Mortimer's Hole, it's intoxicating to imagine a city whose most exciting discoveries lie somewhere far below its own streets and urban surfaces, in a delirious sprawl of artificially enlarged sandstone caves.




Imagine, for instance, a city consumed by its own archaeology—a hole complex of obsessive-compulsive excavation—where the streets are just the thinnest of bridges spanning a sponge-like void below.


For more, check out the site of the Nottingham Caves Survey, which has link after link after link to explore; perhaps start with their Cave Map and move onward from there.

Lights and sounds

In The Resistance Tour, concert tour by the English band Muse, the staging included big screens where they projected images of interior parts of buildings and people moving inside them, interacting with the songs that they were playing.
Also the stages that they made had very geometrical shapes that made them have a big importance in the show.

This is the stage that they made in the Vicente Calderón Stadium, in Madrid.
It created an strange sense pf perspective because of its rectangular shape, and it contrasted with the rounded shape of the stadium, creating an incredible stage that was like caming out of the stadium.

Here are some links to videos of the concerts but they are not in very good quality:
Muse. Madrid 28.11.2009
Muse-Resistance (video Clip)



Muse. Madrid 28.11.2009 from Emeral Isle, on Vimeo.
Muse-Resistance (vieo Clip) form Sevenchappels, on Youtube.


The LightLine of Gotham from seeper on Vimeo.

Nov 23, 2010

ChairKIT by Dan Civico

ChairKIT is a limited edition range of high quality self-build chairs and tables that are sold in flat pack form and are supplied with almost everything needed for construction.
They are produced in sustainable brich plywood, and using the latest cutting technologies each kit is produced with minimal waste and energy consumption.
Every purchase comes with a signed and numbered limited edition screen print.

All you need to do is follow the simple, clear instructions and in no time you’ll be sitting in your own chair (of a price from £200).








ChairKiT by Dan Civico, on The Sin Freno Company

Nov 21, 2010

concrete misplots?

Concrete Misplots Designer: n/a
Location: n/a
Image Credits: n/a
Based on iconic housing shapes, these buildings were intended as prototypes for mass-customization. Yet, as things go with computerized manufacturing, there have been misplots. The cartridge was not loaded properly. The concrete was set to the wrong parameters or scale. The printer module falsely translated a data set… zeitguised.wordpress.com Posted: 11/15/2010 digg




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One Hundred and Eight

November 19th, 2010
One Hundred and Eight is an interactive installation made by  Nils Völker. It’s made out of ordinary garbage bags which can be selectively inflated and deflated by two cooling fans.
Although each plastic bag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoal. But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. As soon it does no longer detect someone close it reorganizes itself after a while and gently restarts wobbling around.





found at CreativeApplications.Net

Nov 20, 2010

300 years old house wrapped with a modern house


It is a question much older than even this aged Japanese home, the original portions of which date back over three centuries: how does one pay due respect to traditional forms when making contemporary additions, expansions and/or remodels that necessarily impact the existing site and structure?

This query was answered in a spectacular-but-understated way by Katsuhiro Miyamoto & Associates through a new wooden building that responds to, wraps and protects a wooden gate house, which has sat for hundreds of years on the property.

As much as possible was left of the walls, roof and rooms that range in age from 90 to 300 years. Beyond that, the new portions provide earthquake resistance as well as modern layouts to extend the limited and dated program and plan of the original center.

Burnt cedar makes the exterior walls blend in well with the regional vernacular, but the clearly contemporary forms make it obvious upon cursory inspection which pieces are old and which parts are new. The metaphorical as well as physical effect is one of support: what is added provides both a poetic embrace of history while actually offering structural assistance the the weathered core of the residence.

tiny apartment

http://www.youtube.com/watch?v=Lg9qnWg9kak&feature=player_embedded

Nov 16, 2010

landscape anthropology


An exhibition called In Search of the Miraculous opened up last night at the Camera Club of New York. It runs till March 28th.

[Image: Two Structures, Death Valley, California, 2007, by Ian Bugaskas, from his series Sweet Water; courtesy of the Jen Bekman Gallery].

While the above image, by photographer Ian Bugaskas, one of the artists represented in the show, is not actually on display there, Baguskas will instead be exhibiting a series called Sansaram (Mountain People), which visually surveys a very particular landscape microculture in South Korea.
According to the Camera Club:
    Ian Baguskas's portraits made in South Korea of local mountain hikers depict the intersection of recreation and spiritual communion with nature. His project Sansaram from 2005, meaning "people of the mountain," combines landscape views with documentary portraits of native visitors to the Sobaek mountains, encountered on hiking trails. The popularity of this activity can be attributed to the indigenous religion, which is centered on the worship of nature and mountain spirits, and has come to be fused with Buddhism.
The series, visible on Baguskas's website (caution: resizes your browser and requires Flash), is a fascinating look at the intersection of geology and anthropology – in other words, how massive landforms can be appropriated by and incorporated into cultural movements and religious traditions.
The human experience of the earth's surface here takes on the form of small picnics, ice cream carts parked on paved platforms, lone hikers gazing out over urban developments below, and families standing quietly in the sun. But behind all of that lies bedrock, a huge intrusion of solid, crystalline form that has pushed up from below into detectability and self-exposure.
This reminds me, though, that if I could start a university – or, for that matter, simply teach at one – I would love to form a new department, studio, or program called Landscape Anthropology, a specifically and enthusiastically spatialized look at human culture. From the layouts of medieval villages to the floorplans of corporate bank towers, from national parks and monuments to the strange geotechnical rearrangements we force upon rock, digging tunnels, excavating mines, and installing towns and cities, how do human beings experience the earth? This would seem to be one of the largest and most important questions we could possibly ask.
In any case, if you're in New York City between now and March 28, consider stopping by the Camera Club for a glimpse of In Search of the Miraculous.