Sketch Furniture by FRONT

CLIPMANIA | Something from Nothing

LiDAR Scan of London - Textured

LiDAR Scan of London - Textured from digitalurban on Vimeo.

London Flooding

Mapping the LIDAR landscape

Mapping the LIDAR landscape
by Matthew Shaw

How can the platform hover in the sky?

Tesla Coil

Illustration about drowned London in the future

All the way down the creek, perched in the windows of the office blocks and department stores, the iguanas watched them go past, their hard frozen heads jerking stiffly… Without the reptiles, the lagoons and the creeks of office blocks half-submerged in the immense heat would have had a strange dream-like beauty, but the iguanas and basilisks brought the fantasy down to earth. As their seats in the one-time board-rooms indicated, the reptiles had taken over the city. Once again they were the dominant form of life.

J.G. Ballard. The Drowned World (1962).

Archigram at the ICA - 9: on Stage; Mike Webb

LIDAR

LiDAR Scan of London from digitalurban on Vimeo.

Spitfire

Canticles For Mike

7. ST PAUL'S AND THE SPITFIRE

certain persistent originating images emerge over and over. St paul's (not St Peter's), the Spitfire (not the Hurricane), the London Bus (the old Routemaster, not its boxy successor). To be sure, these are objects united in their Englishness, but that's not so central. More crucial is the studied perfection of their compound curvature. Webb recalls a very early fascination with Wren's resolution of the intersection of vaults, the way in which the almost weird reconciling shapes deform attempts at penetration. Webb's incision in the Henley temple dome is a related act, a simple auguring which sets an incredible sequence of events in motion, which opens up transformations of matter, space, and light. Those fascinating British machines address paradigms of perfection as well as the idea of motion and the delights of a cowled mechanism. But clearly it's the curves which attract. Webb restores to architecture a difficulty of surface, producing an ineffability of light.

p206 - 207

EXQUISTE CORPSE
Writing on buildings
Michael Sorkin
Printed in USA by Courier Companies Inc.

Vision Machine

Kiesler's Vision Machine is the result of intense studies on the viewers' processes of perception and powers of imagination, research he undertook since his 1937 Laboratory for Design Correlation. Kiesler plans Vision Machine as an audio-visual object to demonstrate and explain the process of perception. In a report to the Dean of Architecture in 1939, he writes:

Theoretical study on aesthetics, with special reference to the human eye as medium of perception. […] Design of a machine for practical demonstration of optical perception, showing the correlative forces of vision.
From: Frederick Kiesler, Report on the Laboratory for Design Correlation, typescript 1939.

Light and Gravity

"Without light, space does not exist. Natural light brings plastic forms to life, shapes the surface of materials, controls and barances geomatiroc lines. The space generated by light is the soul of the act of architecture."

Light and Gravity - Mario Botta

Nuit Blanche from Spy Films on Vimeo.

ARK from grzegorz jonkajtys on Vimeo.

Uboat periscope

Light Forms (2010) from Malcolm Sutherland on Vimeo.

Process Example, "A Haptic Pager"

In order to have tactics,

1. error and idea

2. metaphor and scenario

3. Model and task

4. Displlay and control

in Process Example, "A Haptic Pager"

reference : designing interactions by Bill Moggridge

Vermeer: Master of Light

Roger Vilder Works

Ocean of light

Ocean of light by Squidsoup.
in Kinetica Art Fair

Ethereal Family

Ethereal Family by Rosaline de Thelin
in Kinetica Art Fair

Roseline de Thelin works with light as a medium and as a subject.

Over the past 10 years she creates light sculptures and light installations that explore the epiphenomena of light: reflection, refraction, fragmentation, conduction, transparency. She uses a range of materials including fibre optic, quartz crystal, mirrors, Perspex, wires and chains, metals, photographic prints and video. She designs modern lighting installations for public spaces and private homes internationally. She exhibits regularly in Spain where she is based and abroad.

Finding inspiration in astronomy, scientific theories and quantum physics, her latest work focuses on organic forms such as spirals, ellipses, waves, volutes and veils, to create large light pieces.

Her recent holographic light sculptures will be presented this year in the Kinetica Art Fair. These pieces made of edged fiber optic are a reflection on life and illusion. The first series feature a family of light beings surrounded with spirals and ellipses of light. Her next project is to bring these characters into different life situations and illusory light decors.

Stephen pippin

Reference

Techniques of the Observer - Jonathan Crary
ch4 - Matthew Collings - Las Meninas
The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat - M Kemp

Ready For The Floor - Official Video

Onehundred to one

http://www.liquidfactory.co.uk/onehundred%201_simple1.html

Crane by Satoshi Kamiya

Link

Stephen Pippin

Lavatory locomotion, Walking (suited), 1997
6 s/w Photographien, Lochkameras in Holzkiste
Courtesy Mr. Pippin und Klosterfelde, Berlin

The project Lavatory Locomotion was realised in a public toilet in Tel Aviv. Pippin attached black and white negative films in the porcelain basins of 6 urinals and transformed them into pinhole cameras. A fine wire trigger was fixed between the shutter and the opposite wall. The actor once naked and once dressed walked twice along this row of pinhole cameras. On the way, he triggered the shutters and flash lamps using the remote control. After taking the photographs each of the urinal was transformed into a photo laboratory. When the urinal was flushed, developer flowed into it and the negative was developed. After this, the toilet was flushed again to wash off the developer before fixer was injected in the next step, again with the flush of the toilet. After fixing, the urinal was flushed one last time in order to rinse the black and white negative film. The wet film was then removed and dried under the toilet’s hand-dryer.

Steven Pippin (born 1960) lives in London and Berlin.

Self-Portrait with Photo Booth 1987

Bath Tub Converted into a Pin-Hole Camera 1984

To make this work, Pippin overturned a bath tub and mounted it on a wooden stand. In complete darkness, he lined the bath with photographic papers and sealed the top, leaving only a pin-hole at the centre. He then lay naked on the bathroom floor while light flooded the room. The exposure time was ninety minutes. 

Pippin described this as a process which imitates 'the normal relationship with a bath, which is always one where we are naked and partially inactive for a period of time; floating in a secluded physical and mental space'.

Steven Pippin official site

wikipedia

About Steven Pippin

See his work