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Artist Nils Völker has created a breathing wall comprised of trash bags and cooling fans. One Hundred and Eight selectively inflates a grid of, you guessed it, 108 bags to create a strikingly simple yet poetic result. The softness of the trash bags rising and falling is really something to see. The installation can also interact with the viewer, sensing a person’s presence before the wall. From the artist:
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.
Can you imagine this idea translated to the scale of architecture? Cloud-like hallways – or even full facades – might actively follow passers by with a gently inflating and deflating rhythm. [ Via Today and Tomorrow. ]
Watch the video after the jump.
While the country has been obsessed mid-term elections, local and state building code officials passed another less conspicuous but equally important vote that will reportedly result in 30 percent more efficient buildings than those built to current standards. During the International Code Council’s (ICC) final action hearings held in Charlotte, North Carolina last month, building officials supported revisions to the commercial section of the 2012 International Energy Conservation Code (IECC), one of the model building codes published by the ICC that establish minimum energy efficiency standards for new construction of residential and commercial buildings.
Starchitect Richard Meier is now in the Judaica business, sort of. He recently designed a limited edition menorah and series of mezuzahs for The Jewish Museum in New York. The menorah is based on the Meier Lamp, a piece that was originally commissioned by the Israel Museum in 1985. And just in time for Hanukkah (which begins December 1st), this limited edition menorah can be purchased through The Jewish Museum Shop.
It was a panel I couldn’t refuse: To moderate a talk with two architects from China about sustainability. Not that it’s a topic with which I am very familiar, but I would guess that even architects working there find much about the Chinese approach to environmental issues a mystery. I do know that the country has a $375 billion dollar construction industry devouring resources and that, at least ten years ago, a new coal-fired plant was being built every ten days. But things are changing fast and the chance to talk to Wang Degang who has his own 20-person firm in Nanjing and with Mesh Chen Dongliang who has been working for the past six years at Arquitectonica’s Shanghai office about their impressions was quite an opportunity.
Artist Jenny Odell has created a six-print series of collages comprised of cut-outs from Google satellite imagery that show the great variety present in the built and natural landscapes. By repeating the same typological elements, Odell’s collections offer astounding simplicity and beauty. Prints are available for sale on the artists’s web site. Via Lost at E Minor.
Construction continues at Santiago Calatrava‘s bold Margaret Hunt Hill Bridge in Dallas after it’s signature arch was topped off in June. The cable-stayed bridge is one of three planned as part of the Trinity River Corridor Project, which aims to redevelop the Trinity River and its floodplains, improving traffic flow, increasing parkland, and providing flood protection for the region.
In spite of the glorious weather, the inaugural Architecture and Design Film Festival was a smash hit with dozens of the 40+ films shown over last weekend sold out in advance, and the notables on five accompanying panels actually sticking around for the films and conversation that ran at the Tribeca Cinemas last weekend, among them Cooper Hewitt’s Bill Moggeridge, the Times’ Pilar Vilades, and AIA’s Rick Bell.
Portuguese artist Alexandre Farto, aka Vhils, sculpts architecture. Using mallets, picks, and jackhammers, Vhils chips away layers of plaster to create large murals in relief. His series of wall etchings called Scratching the Surface appears around the world from Moscow to Italy to the United States. Via Today and Tomorrow.
Ok, we promise this is our last link to AN contributor Alissa Walker’s Fast Company posts for a while. But this one is definitely worth it. The other day she focused on a subject we’ve been pondering for a long time: how despite their design expertise, most architects’ sites aren’t very good. Many, she points out, overuse gimmicks and make finding information and projects way too difficult. Sites for Jean Nouvel, Zaha Hadid, Renzo Piano, Rem Koolhaas’ OMA, she says, are all completely Flash-reliant (a no-no in the new i-Phone, i-Pad world) and “use label-less maps, wordless grids, sketches and other graphic devices with rollovers as navigation, with no easy way to locate or share projects.” One site that we at AN find particularly confusing is that of Lorcan O’Herlihy (one of our favorite architects, by the way), which puts projects into a grid that resembles the Periodic Table of the elements. Sure, it looks great, but.. Well, you get the idea.