Korean artist, Choe U Ram, creates massive, precision engineered sculptures with an eerie organic feel. He uses cut and polished metals, machinery and electronics to create kinetic sculptures inspired by sea creatures and plant life.
Exploring the boundaries of archeological discovery and developmental morphology, Choe’s explanations and Latin titles for these creations follow the linguistic traditions of scientific nomenclature.
Telling stories using gestural transformation and the tracing of imagined evolutionary stages, these pieces take on the silhouette of actual life forms, as intricate automata express a refined delicacy and weightlessness.
Unexpected and fantastical, Choe’s kinetic simulations cyclically breathe with movement that recalls aquatic propulsion, flight and ritualistic courtship displays.
About once every couple of months one of my students sends me a video of ART+COM’s mechatronic installation, made up of 714 metal balls for the BMW museum. ART+COM describe it as “a spatial translation of a design process. Seemingly weightless and guided solely by the power of the mind, the sculpture moves through a cycle of free abstractions and typical BMW vehicle forms.”
I just came accross the work of Joe Gilbertsons formally similar kinetic installation and thought I’d place the two side by side. While one is majestic in its use of precision motors and software systems, there is something equally majestic in Gilbertson’s use of simple motors and cranks.
Five Nobel-winning scientists have been paired with five textile designers as part of a two-year project between Central Saint Martins College and the Medical Research Council, and the result is Nobel Textiles: a brilliant week of exhibitions and events at the ICA and in St James’s Park, London. Theres an introduction film to the project here
Five greenhouses in St James’s Park will contain self-folding fabrics, urban food production, garden furniture and more, with further work in the digital studio and bar.
Self Assembly
Philippa Brock has collaborated with Sir Aaron Klug (Nobel Prize for Chemistry, 1982), responding with a collection of Jacquard weaves that explore the methods of transforming 2-dimensional weaving approaches into 3-dimensional models.
Suicidal Textiles
Carole Collet has collaborated with John Sulston (Nobel Prize for Medicine, 2002 with Sydney Brenner and Robert Horwitz), creating a collection of garden furniture based on the principles of programmed degradation.
Now you see it, Now you don’t
Rachel Kelly has been working with Tim Hunt (Nobel Prize for Medicine, 2001), and has designed a collection of transparent wallpapers and paper lanterns responding to his discovery of cycling proteins which appear and disappear.
The Fat Map Collection
Shelley Fox has collaborated with Peter Mansfield (Nobel Prize for Medicine, 2003), and has created a fashion collection based on the MRI mapping of the body fat of 6 volunteers.
Metabolic Media
Rachel Wingfield has collaborated with John E. Walker (Nobel Prize for Chemistry, 1997), to create architectural scale textiles that explore urban food production, in response to John’s elucidation of the tiny motor that cycles energy in our cells.
The Poème électronique was a unique experience, originated from the request made by Philips to Le Corbusier for the design of the company’s pavilion at the Brussels World Fair in 1958. The whole project was initiated and directed by Le Corbusier, who also created and/or selected the images for the audiovisual show, with the organized sound composed by Edgar Varèse, and the stunning surfaces of the building designed by Iannis Xenakis. The result was a ground breaking immersive environment, since the space of the Pavilion hosted the audio and the visual materials as integral parts of the architectural design.
Unluckily, such a visionary synthesis of innovative ideas could not stand with its times, and the paradigm was never repeated, or even attempted, again: the Pavilion, notwithstanding the incredible number of spectators (2 millions), was turned down a few months after its inauguration, at the end of the Exposition. The disappearance of the Pavilion makes the Poème électronique a destroyed masterpiece.
What we stl have today are only fragments of the various components (i.e. photos and drafts of the architecture, the projected video in videotape from the Philips archives, a stereo reduction of Varèse’s and Xenakis’ musical pieces).
Virtual Electronic Poem (VEP) is a project realized as a virtual reality (VR) environment that reproduces the experience of the dismantled masterpiece through an accurate philological reconstruction of the original installation. The website looks a bit out of date but the first of two films in this post shows the results of the work. The second shows the Poème électronique as a film rather than in its architectural context. Perhaps someone out there would be good enough to bring the building into a public setting on Second Life?
Sean Hanna is an interesting architect/engineer whose work I’ve been meaning to cover for some time. He was awarded a American Institute of Architects Student Gold Medal and went on to work on algorithmic & parametric design aspects of major construction projects with architects including Foster and Partners and sculptor Antony Gormley. His research is mainly in developing computational methods for dealing with complex systems in architecture, and in structural optimisation and rapid prototyping technology. I’ve selected a couple of his projects to give a sample of his work but check out his website for more details. His work is part of the currently running “Capture & Context” exhibition I posted on early this week.
BODY / SPACE / FRAME
Sean role in the BODY / SPACE / FRAME by artist Antony Gormley was in the creation of methods for generating a body formally and constructing a geometry appropriate for and structurally constructing the 25 metre high sculpture. Built out of an open steel lattice in the shape of a crouching figure, it was sited on the end of an 800 metre polder and faced outward from the coast of the Zuiderzee, Holland.
PAN_07 CHAIR
Optimised cellular structure in collaboration with Timothy Schreiber
Based on an analogy with the highly efficient cellular structure of living wood or bone, which adapts to its environment as it grows, the chair’s interior is comprised of a fine lattice that minimises weight while maximising strength. The design method combines principles of evolution and artificial intelligence to create a material that responds to its environment by growing denser in the areas required to best withstand the external forces applied when the chair is in use.
The roof has historically focused on one primary function: keeping out the elements. New technologies, as present in Light-Emitting Roof Tiles, allow the integration of additional functions within roof surfaces. Manufactured by Lambert Kamps, the transparent roof tiles are integrated light-emitting diodes (LEDs) and designed to display text, pictures, and other graphical content in multiple colors. Information may also be animated, such as with an illuminated news trailer. Light-Emitting Roof Tiles also come with their own self-supporting solar-photovoltaic power system. via transmaterial
