From 2003 to 2008, young photographer Charlotte Lybeer spent extended periods of time in gated communities and contemporary theme parks to document how these places neatly designed around a central theme managed to give an illusion of safety and dream lifestyle. Strangely enough, she told me when we met for a drink in Antwerp a few weeks ago, living inside gated communities only increases the feeling of unease, the paranoia. Everything is fine and safe as long as you're among the people you have chosen to live with, those who have the same -architectural but also moral- values as you, but as soon as you step outside and face 'the real world', the fear rises much stronger than ever.
For this new series, Charlotte visited a variety of places in the world, from luxury shopping villages to holiday resorts and residential districts, which have in common a fake, idealized Flemish/Dutch architecture. These "paradise" enclaves were created by developers from behind a desk and usually have nothing to do with authenticity or local context. The artificial settings are empty capsules aimed at creating a pleasant environment for mass consumption and tourism.
Orange County, a holiday resort in Turkey with replicas of typical Dutch facades as well as of the windmills of Volendam and Amsterdam Central, is particularly striking. It's a little piece of Holland heaven under a perpetually blue sky and set against the backdrop of mountains. Lybeer also found plenty of Dutch/Flemish architectural clichés in the Belgian designer discount outlet Maasmechelen Village and much more surprisingly in Northeast China, where a Dutch businessman born in China had the ambition of opening Holland Village, an amusement park and residential complex in Shenyang. Holland Village featured replicas of famous Dutch public buildings and windmills. It never opened.
The artist's photos -whether they capture details, passersby or a whole street- translate perfectly the feeling of eeriness that pervade these places. Everything is so neat and pristine that you wonder if people are actually allowed to set foot in this postcard-perfect architecture. The facade of the INNTEL Hotel in Zaandam (NL), however, doesn't attempt to fool anyone. The architect of the building fearlessly piled up several houses of the typical Dutch building tradition on top of each other.
Charlotte gave her series the title The Villages because these secluded places replicate the feeling of safety of a village, a place where you know who is who, what to expect and where things appear to be immutable.
Does getting so close to gated communities and to the people living there makes you better understand why one would want to live there or does it have the opposite effect, makes you feel that a gated community is something best left to paranoid people? More generally, can you refrain from making judgements about their way of life? because when looking at your photos it seemed to me that you felt some tenderness towards these people. It's all very subtle and respectful.
I lived for 2 months in most of the gated communities I photographed, so during that time I try to understand the choice of living in a gated area.
I definitely don't want to generalize it. For some people I understood their reasons, and for me some people are just to scared or not adventurous enough to live inside the ungated world. I question more the idea of project developers and architects who construct that kind of housing, than the people who choose to live in it.
I guess that the reason why you first decided to document a gated community was that you were curious about them but also that you might have had some preconceptions before going there. Were these preconceptions met or did you find that life in a gated community was nothing like what you had expected?
I always do lots of research before I travel to a certain place. So I'm very much prepared. Nowadays you can find so much information on the internet, it's almost possible to see every corner of a place virtually. So for the project in China (2007) and Dubai (2008) I planned before the locations I want to photograph (sometimes I decided already on the framing) and the I waited until something happened in the framing, that made my picture. Of course I also like to let me be surprised by the reality of the moment and the place. Sometimes an unexpected glimpse of strong sunlight can make the image or a person who passes by and just fits perfectly in the atmosphere... thats what I like about documentary photography, you can make a combination about the planned and the coincidence.
One would expect people living in gated communities not to be very open and welcoming to the intruding photographer that you are. How do you get access to them? Do you have to ask for official authorizations? Is it a difficult process? How ready to help you are people living there? Which kind of relationships do you form with them?
In most of the places it is not allowed to photograph, so I always ask for permission.
I write letters, phone or email the gated communities and most of the time they don't give me permission.
Once I'm there, people are a bit distant in the beginning and they don't easily trust me. But when I stay in a gated communities, I'm everyday everywhere, so they can not really avoid me.
I also look quit innocent, so that helps too. And I try to explain my intentions and be honest about my goals. People appreciate that. Some are even proud their living environment is interesting enough to be photographed. They get used to me after a while. That's also one of the reasons why I stay there for 2 months, so people have the time to adjust at me and vice versa.
I still have contact with some of the elderly people in Florida, they liked my visit allot, I was a part of the entertainment there.
You've investigated and photographed gated communities in several parts of the world, Florida, South Africa, Belgium. Are their reasons to live in a closed environment the same wherever you go? What motivates them to seclude from the rest of the city?
Not at all. In Florida I photographed a gated retirement community. So it's something between an elderly house and a club med.
I understand their choice of living there, no traffic, everything they need is withing close reach, silence, clean, many friends... I can understand that many people prefer to spend their last years of their live in such an atmosphere than in a grey small boring elderly house in Belgium. But I don't say it would be my choice.
In South-Africa, safety was the main reason. Families with young children lived there.
You also photographed Dubai. Is there something in Dubai that you find similar to life in gated communities? An atmosphere of artificiality for example?
Dubai looks like one gated community. Everything is artificial and controlled. the absolute climax of the topic.
It was for me also the most difficult place to work, the security persecuted me for an entire day... just because I took pictures with a camera with many pixels. They noted down everything I did, from drinking something until speaking with somebody. They even ask me to hand them down all my photos.
Curator Ils Huygens made a lovely interview with Charlotte Lybeer (in dutch):
Architecture of Fear remains open at Z33 in Hasselt, Belgium through December 31, 2011.
Remember i was telling you about "Anti Anti Utopia", the talk that Vicky Messi gave at the FILE festival symposium a week ago? She was highlighting media art projects from Latin America that 'look beyond anti-utopia.' The first work she presented was Arcángel Constantini's Nanodrizas, a fleet of "flying" saucers deployed in polluted waters to clean them up.
A second brilliant project she mentioned was Ciudad Nazca / Nazca City, a land art project in which a robot draws a true scale map of an imaginary city onto the surface of the Peruvian desert.
Artist Rodrigo Derteano's autonomous robot plows the desert ground to uncover its underlying, lighter color, using a technique similar to the one of the Nazca lines, the gigantic and enigmatic geoglyphs traced between 400 and 650 AD in the desert in southern Peru. Guided by its sensors, the robot quietly traced the founding lines of a new city that looks like a collage of existing cities from Latin America.
Because of the city would extend over several squared kilometers, the map can only be appreciated as a whole from certain a height by means of airplanes or satellite imaging. Just like the Nazca lines.
The project invites to reflect upon the explosive urbanization of the deserts of the Peruvian coast, taking place since the middle of the last century, and its consequences on environmental sustainability and the quality of living.
I asked Rodrigo to talk to us about Ciudad Nazca:
Hello Rodrigo! What is the motivation behind the project? During her presentation at FILE, Vicky mentioned the spectacular growth of the city of Lima and the need to find new ways of designing and envisioning cities, maybe by building them in the desert. Can you expand on this?
I live and grew up in Lima. About 60% of the city today lies within the desert, most of it grew without any serious urban planning. It's a self-made metropolis, the second largest city built in the desert after Cairo. It grew from 1 million to 8 million people in less than 60 years. There's a lot of problems derived from this development in terms of sustainability and living standards which exacerbate the huge inequality of our society. The desert plays a big role in this regard. People living in desert areas of the city are usually poor and often have to pay more for water than those living in more centric (richer) areas. They also lack proper infrastructure and have much less public places and parks. For a long time, these areas were not considered part of the city by the ruling class and the authorities until they became the majority.
By drawing a gigantic map of a city onto the desert, the project not only seeks to draw attention to this facts, but questions our very concept of city, specially in regards to its environment. Lima is a sort of negation of the desert. Our model and ideal of city is very occidental, and does not adapt very well to its context. The desert is seen a kind of non-place, not a part of our living environment. In this sense, there's a sort of irony in using a robot to draw a city onto the desert, as if it would be drawing it on the surface of Mars (exploring the outer space for the possibility of urban life).
I'm also fascinated by the Nasca people and their lines (200 BC - 600 AD). Studying theories about them, I found their notion of desert as ritual space, and therefore an expansion of their living space, to be in sharp contrast to our notion today. Some see the Nasca lines as cult to fertility and life in the desert, trying to communicate beyond. In this sense, Nasca City is kind of a cult to urban life in the desert today, not communicating beyond, but within our society...
I was also interested in the cities you selected for the final collage. How did you chose them? Why Belo Horizonte and Rio de Janeiro rather than Sao Paulo? Why Bogota rather than Medellin for example?
The project required an interdisciplinary group of people working together to make it happen. In regards to the design of the city we worked together with the Latin American architecture collective Supersudaca, represented by the 51-1 architecture studio in Lima. The collective proposed to do a real scale collage of pieces of the 10 largest cities in Latin America (Sao Paulo is included). They would overlap at the borders creating new urban forms and zones of conflict. The idea was to create a map of mixed references, city patterns already charged with meaning, that people would be able to recognise, compare, and understand the scale of the drawing according to their own real life experience.
Why 10? Well, they like to put up simple rules. The cities pieces were put together conserving their relative geographical position and original orientation.
The city drawn in the desert is ephemeral is that correct? Isn't it disheartening to dedicate so much energy and see the city being slowly erased by the wind and other natural elements?
Sometimes I also find it disheartening, but most of the time I think it is ok for it to be slowly erased by the wind. The lines loose the sharp contrast with the surface in a couple of weeks, but the relief will be visible for years. I don't know if I would find the drawing and whole action equally meaningful in, let's say, 20 years. The desert is quite a special place for me, and I had my thoughts about leaving permanent marks that large on its surface.
For it to stay forever, we would have had to do it in a terrain with almost identical conditions as in Nasca, which is a protected area classified as world heritage by UNESCO. We would have ended in jail for sure, if we had done it over there. Which brings me to question number 5...
How long did it take to draw the whole city and did you have to stay near the robot constantly to monitor its work?
The drawing took 5 days (4 under ideal conditions). We had to rescue the robot sometimes and had some problems, but most of the time, it would do fine by itself.
Did you need to obtain special permits to do this piece of land art or can anyone do anything they fancy in the desert?
In theory, you can't do what you want in the desert (in Peru), unless you own it. And even then, you'll have to do an official and quite expensive study certifying the absence of archeological rests. In a protected area like Nazca, it would be a serious crime (to destroy national heritage). We certainly could not buy up that amount of terrain (!!). But it is permitted to drive around in non protected areas, which also leaves marks. So there's kind of a gray zone. In practice, people exploit the landscape in all sorts of ways, but we wanted to go public with it. We had to make sure we could do it, or at least be prepared for the consequences. The local authorities were sympathetic to the project and we got an unofficial permit...
Are you planning to repeat or show the project elsewhere in the near future?
The project is not completely finished, because there are lots of follow ups. Maybe I'll take on the topic in further projects or exhibitions. Maybe someday we repeat the drawing process, but it's quite a production and I have no concrete plans. There are no exhibitions planned at the moment, but I have a lot of material and would like to show it again.
And if you speak spanish, check out this interview that Vicky did with Rodrigo:
All images courtesy of Rodrigo Derteano.
Previously: Nanodrizas, "flying" saucers for polluted waters.
The dream of self-sufficiency and sustainability has become true. Everyone is now able to produce goods, to communicate with anyone without being charged or tracked and to fulfill their basic needs without forgoing modern conveniences.
Cruiser Charisma intertwines extrapolations about the latest (and upcoming) advances in technologies with a series of research trips that designer Jonas Loh made into intentional communities, groups of people who attempt to establish their own society on a micro-scale. He visited Earthaven which is ruled by community consensus and divided in small villages, went to see what remained of the ethics and ideals of The Farm and even made a trip to Berlin, Ohio, to get to know the Amish lifestyle built around religious beliefs and resistance to modernity.
The project also professes faith into D.I.Y. and open source movement which could one day take technologies that are currently out of you and i -such as synthetic biology, genetic engineering, bio-printing and new form of production methods- out of the hands of venture capitalists and politicians and into everybody else's backyard.
The outcome of the project is utopian, yet credible: a caravan which will run on advanced biofuels, whose inhabitants will be able to produce all kinds of goods and organic materials thanks to a 3D printing production unit, eat synthetic protein rich meat that will be grown through a new generation of plants, recycle their poo to produce energy and experiment with new ways of community living.
Interestingly residents would communicate over long distance using the Earth-Moon-Earth, aka moon bounce, a radio communications technique developed after World War II. The system relies on the propagation of radio waves from an Earth-based transmitter directed via reflection from the surface of the Moon back to an Earth-based receiver. The residents of the caravan selected this form of long-distance communication because it is not yet privatized and because their personal data doesn't get tracked.
The project explores the possibility to reach a total state of self-sufficiency and with it a different social, political and economical system.
A couple of weeks ago, while i was visiting him at the School of Design and Crafts at the University of Gothenburg in Sweden, Otto von Busch told me about an extraordinary experiment that architect Armin Blasbichler had carried out with 21 of his architecture students at the University of Innsbruck. I didn't get much details, except that Blasbichler's students had been assigned to pick up a bank in the city, study it, identify its Achilles' heel and plan a bank robbery.
The best way to know more about the project was to interview the mastermind behind it...
If i understood the project well, you ran a seminar at the University of Innsbruck where 21 architecture students, the famous "Blasbichlers Twentyone", were given the assignment to study the plans of the bank, spot their weaknesses and then take advantage of them to make a bank robbery in which however, they could not steal money. Is that so? Could you give us a few more details about the project?
The project is the result of a semester-long design research course at the Institute of Design/ Studio1 at the University of Innsbruck. The course was conceived as a laboratory to investigate in the continuing marginalization of the role of the architect, the sheer new mass of young architects produced by Universities trying to find a stand, the potentials of role play and last but not least the bold attempt to run an academic course as a profit oriented business model. For the motivation of a young aspiring architect I would put it a little more dramatic:
"...Yo, we gotta take the power back! Bam! Here's the plan." (Rage Against the Machine,
At first glance the attempt to plan a bank robbery might sound like a post-adolescent prank. But it's not, of course. Such a project claims most of the core competences of an architect. i.e. research and value the site (if of necessity), find out weak/strong aspects, think, imagine, anticipate, sense and develop a concept, sketch, think, design, rethink, reimagine etc., prepare action plan documentation, plan the time schedule, the costs. And well, in this case also an escape plan was asked.
I suspect that you didn't warn the banks about the performance. Wasn't the
The single banks where not advised or involved in the project simply because I wanted to provide an authentic general framework. At some point in the research phase some students came up to me, worried about the fact that they are going to do something illegal. However, the University's legal department approved the project with some formal and privacy restrictions. Any time you put to the test your own imagination of things with the prevailing parameters of the real, things become potentially illegal. Architecture is always illegal.
The results were presented within the context of an exhibition in an art gallery in Innsbruck. That was the moment where bank representatives and safety officers came to see the poster size "emergency plans", for the first time. There was a mixed feeling of incredulity about the feasibility of the plans and at the same time a sense of appreciation for the inventiveness of the authors. Though tailored for specific banks branches in specific locations within specific conditions all plans showed a general validity. As a thank-offering for their involuntary participation to the project they all received a copy of the emergency plans for free, as it wasn't intended as a blackmailing event. But the key question for me was: is this immaterial architecture, the information provided by unsolicited architects, is architecture itself of any monetary value? To my surprise most of the banks appreciated the outcomes and gave a financial contribution. With that money we were able to finance the exhibition, material expenses and partly the expenses for the publication of the book. All in all a leveled risk capital venture.
What did the students steal by the way? Do you have some examples of what they brought back from their break-ins? Any anecdotes about some of the most original/spectacular/curious robberies? Did they get to keep anything in the end?
The students didn't steal anything. Their task was not to steal but to examine and exploit the weak points for their purposes to provide feasible emergency plans. The objectives ranged from assets like time, space, image, future clients, electric power, etc. up to the one student, who celebrates with unbelievable virtuosity the theft of the typical chained ball pen on the counter, an icon of worthlessness and petty-minded communication strategies. In any case, cash money assets were of a subordinate interest. You can find all instructions plans in the publication "Blasbichlers Twentyone".
I'm particularly interested in the result from these performances and researches. A series of plans and a book. i saw a few examples over here but could not see the details. Could you describe the sort of graphics and plans that the students created?
You are talking about number 14 and number 17. These two students have been adopting business models and principles which are written into the genetic code of the banking sector, namely "make money" and "time is money".
Number 17 was, according to the bank officials, the most alarming one as it is achievable with no particular effort. Basically the student steals time. She shows how one can jam a banks activity up to a halt and at the same time bring along consistent losses of money. The effect of this apparently trivial approach is startling and I can't go to enlarge it at this point. Check the book for the "source code"...
One would expect architecture students to build banks, not to rob them. What did the students learn in this process of masterminding bank robberies?
Architecture is much more than designing a building, it's about the making of the imagination. In this sense architecture is more related to the arts and the financial sector than one might think. Banking and architecture are of a kin.
Nowadays i suspect that people have very little sympathy left for banks. Was there any political or ethical reason why you decided to target banks?
You can't do without banks in prevailing global societies. Banks are not the enemy; rather they have become the fortresses of desires, the keeper of dreams, hardly accessible and locked-off from the public, although propagating transparency. From this point of view banks are a rewarding topic of research, also for architects. Banks constitute an almost invisible net of power structures. To examine these structures is to bring to light something which has been buried and set out of balance. Unfolding a system is not a crime, it rather adjusts the attention.
The approach of the Twentyone is comparable with the attitude of hackers. Without the commitment of hackers today you would not be able to send an email without somebody reading along, you would not be able to make a secure online purchase or bank online. No Firefox, no Open Office, no Linux - just to name a few - would be available. Hackers usually are related to an information technology security context. Why not set their working method to other topics and disciplines - "hitchhacking"?
In this sense the Twentyone are a non-institutionalized, slightly profit oriented breed of security "hitchhackers". A 21-architect resides in anyone of us and when you team up with your hidden alter-ego you make 42. According to Douglas Adams, with 42 then you can answer the ultimate questions of life, the universe and everything.
Thank you Armin!
Blasbichlers Twentyone - the book
The Architectural Association School of Architecture in London has just opened a fascinating exhibition titled Beyond Entropy, When Energy becomes Form. The works on show are part of a two-year project that brings together leading scientists, architects and artists to broaden the ways we think about energy.
A wooden time machine, a swinging pendulum that controls the destruction and reconstruction of a building, a highly frustrating pinball machine, forensic photography that captures your movements before the picture is taken, etc. Each work in the room looked at a different type of energy --electric, mechanical, potential, mass, sound, thermal, chemical, and gravitational-- in a way that makes us realize how little we know about energy.
MASS intends to break the second law of thermodynamics which wants that entropy always increases, even though the fundamental laws of nature are always symmetrical. A building that collapses never brings itself back together. However, architect Rubens Azevedo, artist Ariel Schlesinger and physicist Vid Stojevic created a system where the film of a building being imploded almost immediately comes back together as a pendulum swings. A pair of film projectors are placed on a pendulum, projecting the image of the building. The image remains motionless as long as the pendulum doesn't move. A swinging pendulum is a symmetrical, non-chaotic system but the projection it governs is chaotic. As the pendulum swings in one direction, the building collapses. When the pendulum swings back, the building comes back together. It goes on and on as long as the pendulum swings.
An event which is asymmetrical in time due to the second law of thermodynamics (such as the demolition of a building) is thus made symmetrical by the non-chaotic system (the pendulum.) This moment of entropy is continuously projected on the screen. The prototype currently shown at AA is the first step of a larger-scale installation in which a Foucault pendulum will screen a movie whose speed, in time and space, depends on the rotation of the planet.
Cosmologist Andrew Jaffe and architect Shin Egashira explored mechanical energy through a whimsical time machine inspired by Alfred Jarry's Pataphysics, a pseudo-science that investigates what lies beyond the realm of metaphysics. Jarry defined 'pataphysics as "the science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments." Jarry theorised a time machine made of giant mechanical flywheels and gyroscopic action to transport the user through time and space. The work on show at AA right now is one element of the prototype to be complete next year. This 21st century's version of Jarry's machine uses electric motors, computer-cut plywood, ball-bearings, bicycle parts and digital cameras. In Jarry's pataphysics, these elements work together to spin at such speed as to resist all forces, eventually even resisting our motion through not just space but time itself. The team has updated Jarry's machine and hope to achieve the same result the French pataphysician was postulating.
Bankuh, scientist Giuseppe Celardo and artist Alberto Garutti's way of exploring electric energy is as fascinating as it is simple. It stems from the idea that energy cannot be stored but has to be produced moment by moment. The logic and management that governs the network of the fluxes of energy is influenced by economic and geopolitical factors. The workshop that opened the Beyond Entropy project took place in Fondazione Cini in Venice. The energy arrives there from a dense network of energy-exchange via Sacca Fisola where it arrives from the regions of Veneto, Fruili Venezia Giulia and Emilia Romagna, from gas thermal power stations located in a number of small Italian towns. All of these stations are linked through a network of gas pipes to the sources in Algeria, Russia, Libya, The Netherlands and Norway.
Meanwhile the local coal-fired power plants are supplied with coal from the mines of South Africa, Indonesia, Colombia, Russia, Venezuela and China. The power plants use fuel from Italians localities and draw on feeder pipelines from Russia, Libya, Saudi Arabia, Iran and Iraq. Finally, the hydroelectric stations are in Samplago, Cavilla and Barga while wind turbines are spread around the Southern regions of Puglia and Sicily.
The project hopes to bring together into a room 100 people who have the technical responsibility for managing this complex system behind the electric network. The 100 empty folding chairs await their arrival next year.
Artist Massimo Bartolini, architects Dario Benedetti, Riccardo Rossi and Salottobuono teamed up to explore the sound our bodies make through their own electromagnetic fields. The brass ring is a giant antenna, picking up electric signals and turning these into sound through speakers. As people approach the antenna, so our electric fields alter the sounds being created.
Publisher Ruby Press says: Founded in Berlin in 2000 by the brothers Jan and Tim Edler, realities:united have built a unique reputation for their spectacular art and media extensions to buildings all across the globe. Working together with some of the most prominent figures of contemporary architecture - including Peter Cook, Coop Himmelb(l)au, Foster & Partners, Will Alsop, Nieto Sobejano, Bjarke Ingels, Minsuk Cho and WOHA - realities:united have established an ingenious type of collaboration they refer to as featuring: Usually invited by architects to cooperate on a project, realities:united have a special gift to detect the idiosyncratic strength of a design and amplify its qualities by techniques and procedures that exceed the realm in which architects usually work. Inversely, realities:united can only work their magic by designing in a dialog with an architect featuring them.
This book offers the first complete survey of the work of realities:united to date. A lavishly illustrated tour de force of their manifold oeuvre, Featuring provides the reader also with rich background information by virtue of a detailed project documentation. Finally, a series of resourceful essays of reputed architects, critics and other thinkers will answer any questions you always wanted to know about realities:united but were afraid to ask.
I've stopped counting the number of times i've seen the work of realities:united in a book about architecture, dynamic architecture, interactive architecture, interactive design, interface design, 'media facades' or media art. The BIX communicative skin display they completed in 2003 for the Kunsthaus Graz could have turned them into a one-hit wonder. But years passed and their work has never ceased to catch the attention of magazine editors, publishers, bloggers and journalists alike. It was high time that the Edler brothers gave the public an extensive overview of their practice and published a book.
realities:united featuring has the elegance, appeal and clarity you'd expect from the architects. The inside of the first cover is printed with very short comments about their work. They range from "Jan and Tim Edler are the Neo and Morpheus of architecture" by Bjarke Ingels, to "Sweaty, loud and ugly" (??!?) by Christian Moeller. My favourite quote is obviously Jackie Chan's: "I saw your video." The book goes deeper into the study of their practice with essays by art critiques, artists, curators, academics who either profess their admiration for their creativity or bring analysis and context to their work.
Roughly 2/3 of the volume is dedicated entirely to the glorious images of their projects. The details about them can be found further down the book in a section that lists alphabetically and explain the works finished, the ones that are still in progress as well as the proposals that didn't go through.
Leafing through the book reminded me how ingenious the Edler brothers are. Yes, they do lavish, luminous and dynamic but their work also take more experimental paths in projects that investigate themes as diverse as energy-saving and mobile clubbing.
Check out the projects below if ever you still need to be convinced...
realites:united have a unique way of being both inside and outside the new media art world. In 2005, With the interactive installation 43-316/8017 9242, the designers of the BIX media façade returned to the Kunsthaus Graz with a work that invites passersby to interact with a façade as much as it triggers in their mind questions about interactivity and communication, two concepts that have sometimes defined and limited the computer art scene of the time. Does the installation do what we want, or is it the other way round and we do what the machine wants?
Cokpit, the universe's first cabriolet roof-top, made a summer bed-room out of an unheated, unused attic in Berlin.
Open the House proposes intelligent climate clothing worn like underwear that would enable a person to sit comfortably in spaces where the temperature is far below or above what is normally considered acceptable. The design opens up new possibilities to design houses and save energy.
ReinRaus, Extreme furniture and instant one-person balcony! One of my favourite works by realities:united.
Crystal Mesh, an ornamental and granulated light and media façade for the building complex "ILUMA" in Singapore.
MuseumX was conceived as a temporary installation to act as a surrogate and social placeholder for the Museum Abteiberg (Fine Arts) while it was closed for reconstruction. It took three comparatively small elements to turn the hulk of the 65,000 m3 structure of the city's empty theater building into a simulated museum: a flag on the top of the building, a new foyer and a set of printed façade panels strapped in front of the theater's façade from the 1950s.
Stereo Transformer is a vehicle system designed both to enable real mobile clubbing experiences and to stimulate innovation around the technical equipment of mega-sized urban pop-music events: Dividing the vehicle into two halves provides the structural precondition for putting the people in the center and surrounding them with the sound system, not the other way around.
C4 is a media skin developed in close cooperation with Nieto Sobejano Arquitectos for the "Espacio de Creación Artística Contemporánea" in Córdoba.
If you want to follow more closely on realities:united, i'd recommend that you swing by their facebook page which lists their upcoming talks, the competition they participate to and the projects or causes that interest them.
Image on the homepage from the project Big Vortex.