Tom Beddard

Surface detail from subBlue on Vimeo.

Déplier l'infini.

Unfold infinite.

Sources : From Fifty Five, SubBlue on Vemeo

A Mystery: Why Can't We Walk Straight?

A Mystery: Why Can't We Walk Straight? from NPR on Vimeo.

Question intéressante.

Interesting question.

Source : Whitezine

Taylor Medlin

 Taylor Medlin, Towards a new Anarchitecture, UC Berkeley Thesis, 2010

  Taylor Medlin, Towards a new Anarchitecture, UC Berkeley Thesis, 2010

  Taylor Medlin, Towards a new Anarchitecture, UC Berkeley Thesis, 2010

  Taylor Medlin, Towards a new Anarchitecture, UC Berkeley Thesis, 2010

  Taylor Medlin, Towards a new Anarchitecture, UC Berkeley Thesis, 2010

Métropole imaginaire en Antarctique.
Imaginary Antarctic metropolis

Sources : Today & Tomorrow, Towards a new Anarchitecture

Subblue/Tom Beddard

Subblue/Tom Beddard, Maldenbulb ray tracer


Subblue/Tom Beddard, Radiolaria trench run



Subblue/Tom Beddard,The formula



Subblue/Tom Beddard,Maldenbox

Monde fractal.
Fractal world.

Sources : But does it float, Subblue

MIT media lab : Relief

MIT media lab : Relief



Topographie intuitive.
Intuitive Topography.

Sources : Digital urban, MIT media lab

Nikki Graziano

Nikki Graziano

Nikki Graziano

Nikki Graziano est une photographe et une mathématicienne. Elle utilise sa spécialisation pour trouver des formes et des configurations, décrites comme équations, dans les images qu'elle saisit / Nikki Graziano is a photographer and a mathematician. She uses her specialization to find forms and configurations, described as equations, in the images she captures.

Sources : Lost at e minor, Nikki Graziano

Mariele Neudecker

Mariele Neudecker, 400 Thousand Generations, GSK Contemporary Earth

Une oeuvre de Mariele Neudecker présenter à Copenhague dans le cadre de Cop15.
A work of Mariele Neudecker present in Copenhagen during Cop15.

Source: Inhabitat

Woody Vasulka & Brian O’Reilly

Woody Vasulka & Brian O’Reilly, Scan Processor Studies

Formes dynamiques.
Dynamic forms.

Sources: Today & Tomorrow, Woody Vasulka, Brian O’Reilly

Carsten Nicolai

Carsten Nicolai, modular re.strukt, 2003, silk-screened prints, paint, modular rubber and porcelain objects, dimension variable

Carsten Nicolai, modular re.strukt, 2003, silk-screened prints, paint, modular rubber and porcelain objects, dimension variable (detail)

Carsten Nicolai, invertone, 2007, Two loudspeakers, sound, modular foam acoustic panels, Dimensions variable

Carsten Nicolai, input/output, 1996, wooden model, dimensions variable

Carsten Nicolai, neuaufteilung der welt, 1999/2000, in collaboration with Olaf Nicolai, wall drawing, dimension variable

Carsten Nicolai, aoyama space no. 2, 2009, box of anodized aluminium, light, sound, 200 x 120 x 150 cm

Perceptions sensibles entre art et science.
Sensual perceptions between art and science.

Sources: But does it float, Carsten Nicolai

Andreas Nicolas Fischer

Andreas Nicolas Fischer, A Week in the Life, 2008

Andreas Nicolas Fischer, (detail) A Week in the Life is a visualisation of telecommunications data. The data sculpture represents my movement and communication made with my cell phone in one week. With this project I want to make people aware of the german telecommunications data retention act (Vorratsdatenspeicherung) which requires the telecommunications providers to collect the connection data of all customers, which is an unneccessary breach of privacy. What can be read from the sculpture is my position in the city through the cell sites I used., 2008

Andreas Nicolas Fischer, Poplar plywood; 80 × 140 × 35 cm; 3 Days in the Life is a visualisation of telecommunications data. The data sculpture represents my movement and communication made with my cell phone during 3 days. 2008

Andreas Nicolas Fischer, Beech wood, poplar plywood; 40 × 60 × 20 cm; The data sculpture Fundament shows the allocation of the world’s gross domestic product in comparison to the worldwide derivatives volume. The statistical data was aquired from the CIA World Factbook and the International Monetary Fund. The sculpture consists of two layers which visualize two data sets with the same principle. The lower half is a mapping of the world’s GDP and the top half is a mapping of the derivatives volume, alloted to the coordinates of the countries on a map. This sculpture is a statistical map, a hybrid between physical and conceptual space. 2008

Andreas Nicolas Fischer, Poplar plywood, paint; 46 × 140 × 120 cm, Indizes is a data sculpture visualizing the stock market indices S & P 500, Dow Jones Industrial and NASDAQ in the year 2008 from january to november. The values are shown on the three peaks of the five rows of polygons. The data was provided by Google Finance. 2008

Systèmes et structures.
Systems and structures.

Sources: Ffffound, Andreas Nicolas Fischer

Andreas Schlegel and Vladimir Todorovic

Andreas Schlegel and Vladimir Todorovic, Synthazards

Andreas Schlegel and Vladimir Todorovic, Synthazards

Andreas Schlegel and Vladimir Todorovic, Synthazards

Andreas Schlegel and Vladimir Todorovic, Synthazards

Andreas Schlegel and Vladimir Todorovic, Synthazards

«Synthazards are synthetic fabrications of natural hazards which forms are generated by various algorithms and machines. They are manufactured by using different rapid prototyping techniques, laser cutouts, and cnc. The following natural hazards are prototyped: earthquake, drought, whirlpool, lightning, volcano, tsunami, tornado and lava. The objects are focusing on formal aspects of these phenomena. What is apparent in fabrications is a unique synthetic form, which is given by algorithms and inscribed in the language of prototyping machines.»

Fabrications.

Sources: Syntfarm, Today and Tomorrow, Andreas Schlegel

Vicente Guallart

Vicente Guallart, Topographia Denia, 2007

Vicente Guallart, The geometry of nature, Dania, 2002


Vicente Guallart, The process by which Denia's mountain should be rebuilt

Inspiration de la géométrie de la nature.
Inspiration of the geometry of nature.

Source: BLDG, Vicente Guallart/Logical natural

The Giant crystal cave of Naica

The Giant crystal cave of Naica, Photograph by Carsten Peter, Speleoresearch & Films

Juste une image...
Just an image...

Sources: National geographic, Pruned

Frank Berg

La beauté des systèmes.
The beauty of systems.

Sources: Fffound, Frank Berg on Flickr

Microcosme

Quelques images inspirantes du microcosme...
Some inspiring images of microcosm…

Sources: Fffound, Boston.com

Claude Lothier

Claude Lothier, Mazzocchio de douze maisons pivotantes

Claude Lothier, Mazzocchio de douze maisons pivotantes

Claude Lothier, Vitrine d'été, Marseille

Forme et perspective
Form and perspective

Sources: Wrong Distance, Claude Lothier

Sachiko Kodama

Sachiko Kodama, Morpho Tower at gallery Sakamaki, 2006





Sculpture liquide.
Liquid Sculpture.

Sources: Today & Tomorrow, Sachiko Kodama

Jake Hobart

Jake Hobart, Rain Project, One book unfolded and display on the wall.

Jake Hobart, Rain Project, Sample spread showing the data type and how the book fit inside each other.

Jake Hobart, Rain Project, All of the books in the series. 12 books in total. One book by data type by week.

Intéressante réflexion sur la météo.
Interesting reflexion on the weather.

''It's a project about the how we track weather, the rain in particular. For a four week period the rain was mesured by the action that make up my life.'' You can learn all about it here.

Sources: Many Stuff, Jake Hobart

Daniel Corbeil

Daniel Corbeil, Nacelle pour expérimentation aérienne/ Airship for experiments

Daniel Corbeil, Nacelle pour expérimentation aérienne/ Airship for experiments, détail

Daniel Corbeil, Nacelle pour expérimentation aérienne/ Airship for experiments

Daniel Corbeil, de l'intérieur de la nacelle / From inside de Airship

Daniel Corbeil, Dispositif de paysage n.4, 2005

Daniel Corbeil, Dispositif de paysage n.1, 2005

Vues du ciel...
Views from the sky...

''La production de Daniel Corbeil se caractérise par un croisement entre l’installation, la sculpture, la photographie et les maquettes, explorant la dimension factice que l’on retrouve, à un moment ou un autre, dans la pratique scientifique. Ludiques au premier regard, ses oeuvres construites à partir de matériaux recyclés sont pourtant investies de préoccupations environnementales bien réelles. Ses emprunts faits à la science, alliés à des mises en scènes fictives, mettent à l’épreuve nos « mécanismes perceptuels »1 et questionnent « nos modèles de connaissance et notre compréhension du monde »2.''

Sources: Atelier Graff, Galerie Thérèse Dion