Contemporary Installation Art

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Contemporary Installation Art

ISBN: 978-988-13541-4-3 Size: 248﹡290mm Pages: 344

Viewed as a genre of newly emerging art, installation art has endowed artists with ultimate creation freedom thanks to its distinctive characters of creation materials and forms. In recent years, installation works have been frequently showcased in a wealth of various exhibitions, becoming an indispensably vital part in the history of contemporary art. In a bid to meet the demand of times, the book Installation Art has collected the topmost installation art works across the world, including the integral graphs depicting the panorama, detailed pictures telling the details as well as graphic design patterns and hand-drawn sketches, so as to conquer the readers with the charm of the works. The book also delivers an artistic idea that “the genuine work of art is based on real life while transcends the latter”.

Copyright © Artpower International Publishing Co., Ltd.


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Anisotropia Designers: Xin Wang and Christoph Klemmt of Orproject Project Team: Shuai Yang, Duan Duan, Haobin Lee Location: Beijing, China Material: Bamboo Photography: Zhang Lu

093 Anisotropia is an installation which has been designed and built for the China National Museum, Tian’an Men, Beijing. Anisotropia is based on Klavierstück I, a composition for piano by Orproject director Christoph Klemmt. The piano piece uses a twelve tone row which is repeated and altered by the different voices, in order to create complex rhythmic patterns. Anisotropia becomes the physical manifestation of Klavierstück I, a frozen piece of music. The installation is based on simple strip morphology instead of a twelve tone row, which creates the structure, openings and rhythm within itself, its repetition happening in space instead of time. Layers of the strips form the wall system, and the shifting and alteration of these patterns results in the formation of complex architectural rhythms which are used to control the light, view and shading properties of the structure. The system has also been used for our design proposal for Busan Opera House. Klavierstück I uses a twelve tone row which starts with the lowest key of the piano. After its first cycle the row gets repeated, though shifted up by a halftone. However rather than translating up every tone by a halftone, only the lowest tone of the row is translated up by one octave. Like this the row remains the same, but its range has been shifted. In the next repetition this shift continues, but the range now also gets reduced in its size: The lowest tone gets translated up by one octave again, and the second lowest tone gets dropped out, so that only the remaining eleven tones of the row are played. Instead of the twelve tones the range now only covers eleven tones, and also its length is reduced accordingly. The range of the twelve tone row continues to be reduced and shifted upwards until only one tone is left in each repetition of the original row. Then the range grows again, and still moving upwards goes through further modulations: The different voices of the piece are starting to separate, the size of the different parallel ranges starts to diverge; they move around each other, until finally they grow together again, still moving up and their range fading out with the highest key of the piano. Piano Piece No.1 is based on a simple row of the twelve tones, but by shifting and translating its range of influence, complex and continuously evolving rhythmic patterns are generated and turned into a floating field of sound.


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The proposed facade system becomes the physical manifestation of Klavierst端ck I. It uses parallel bamboo lamella which is creating the rhythmic structure. The basic unit of two strips is creating form into two dimensions, and becomes a straight extrusion into the third dimension. Like this it gets multiplied into the first two dimensions, where it develops and gets modified in the same way in which the twelve tone row gets repeated and modified in time. The extrusion in the third dimensions allows for a horizontal modification during the development of the wall, which is used in a linear direction similar to the continuous upwards movement of the piano piece. In the piano piece always only the upper few tones of each twelve tone row are audible and create the floating field of rhythmic transformations. Similarly in the installation, only the peaks of each strip become visible and create a floating field of structure, shadow and light.

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Vana Architects: Orproject Project Architects: Rajat Sodhi, Christoph Klemmt Project Team: Sambit Samant, Manu Sharma Photography: Sumedh Prasad and Orproject

097 Orproject developed a series of algorithms that digitally generate open and closed venation patterns, which can be used to simulate the growth of topiaries. The systems consist of a set of seed points that grow and branch towards target points in order to maximize exposure to light for each leaf. The resulting geometries fulfill these requirements and provide a suitable structural and circulatory system for the plant. The structural system of topiaries acts mainly in

compression and bending. Reversing this, we can obtain a geometry that performs as a tensile system. The installation Vana is designed as a single surface in tension that hangs from the ceiling and descends into the space as four columns of light. The surface is tessellated into triangular segments which are connected by stitched joints. Back lit with LEDs, light shines through the gaps and illuminates the space below with an immersive glow.

As the prototype for a large scale canopy construction, Vana has been developed as an iso-surface around an anastomotic network diagram, as the cortex around the venation system. In a continuous transformation, nature merges into architecture, columns merge into the sky and solid merges into the ephemeral. Vana appears to grow as tree-like branches blending into a continuous canopy that floats above the visitor. The installation was designed for the India Design Forum and is on display at The Brick House, Project Jan-Path, New Delhi.


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Nu:S Installation

Designers: Arturo Tedeschi and Maurizio Degni In the evocative setting of the Cloister of Bramante, from July 7th to 10th 2012, a new project created by DOUBLE STUDIO came to life: NU:S. It is extraordinary and engaging installation, which examines the contamination between Fashion and Architecture and attempts to break the mold of the Roman art scene taking advantage of the important creative contribution of young and talented members of Made in Italy: the

architects Arturo Tedeschi (computational designer and author of the bestselling “Parametric Architecture with Grasshopper”) and Maurizio Degni; the fashion designers Flavia Migani, Simone Bruno, Chiara Cola, and Alessio Spinelli (shoe designer winner of the 2011 Who’s On Next in Accessories category). The concept and the creative direction are the

undertaking of Antonella Buono. The result is a harmonious work that merges the individual disciplines while respecting their identities creating an innovative expressive manifesto, thanks to the use of a revolutionary architectural language: the parametricism, a paradigm which uses digital models generated through new techniques of computer programming. The installation consists of four dresses, complete

with accessories, which are located within a parametric framework in constant dialogue with the exhibition space, involving the audience in a multidisciplinary learning process. The installation soundtrack was composed by Davide Severi, a talented musician with a substantial knowledge of reinassance music and strong digital music background.

Client: The Nu:S Installation Were Designed Within The Nu:S Project By Double Studio Under The Supervision Of The Creative Director Antonella Buono Location: Rome, Italy Photography: Eduardo Lucci


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Frsh is a pavilion built by the Architectural Association Beijing Visiting School 2013. Tutored by Rolando Rodriguez-Leal of Aidia Studio and Christoph Klemmt of Orproject, 10 students designed and manufactured the installation within the 9 day course which was held at Tsinghua University in Beijing.

Frsh

Engineering Consultant: Rob May, Buro Happold Manufacturing Consultant: Rajat Sodhi, Orproject Students: Xingchen Dong, Weicheng Li, Junzhe Liu, Shihshih Shen, Wenyang Wang, Haoran Wen, Fan Wu, Xiaoxue Xiao, Shuya Xu, Sijia Yang, Huopu Zhang

University: Architectural Association Visiting School at Tsinghua University

Exhibition Team: He You, Yang Shangzhi, Mao Tianyu , Liu Chunmao

Tutors: Christoph Klemmt, Orproject, Rolando Rodriguez-Leal, Aidia Studio

Photography: Tian Tian Ma, Emma Huang


106 The geometry of the surface was generated using digital, forcebased analysis simulations, which resulted in compression and tension based morphologies. The surface itself becomes the structural system, which at the same time mediates the programmatic and spatial requirements of its surroundings. Each group of students designed large scale landscape and building proposals during the course of the workshop, and the installation was developed as a prototype for a possible construction system of the proposals. Already the digital simulation used a tessellated geometry for its calculation, and this was further refined to create a paneling system for a simple manufacturing and assembly. Although the surface is double-curved in itself, each of its hexagonal components is perfectly flat and laser cut out of aluminium sheets. Openings of varying sizes allow for a differentiation of dark and light spaces. The integrated flanges could be folded by hand, stiffening the structure and forming the connecting points between components. The assembly itself took the group a mere 10 hours. Like a magic carpet, Frsh is hovering in space, creating volumes underneath it and a continuously floating landscape above.

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Rain Bow Gate

Architects: Tonkin Liu Structural Engineer: Arup Fabricator: Mike Smith Studio

Three perforate arches form a gate where three routes converge, welcoming people from three directions.

Shell Lace structural principles pioneered by Tonkin Liu and Arup.

Spanning 7 metres and constructed from the minimum amount of steel in flat, 3mm, laser-cut sheets, this geometrically-stiff, ultra-light structure demonstrates

133 glass prism inserts cast rainbow-coloured light, moving with the sunlight.

After the rain comes the rainbow. Rain Bow Gate embraces digital design, engineering, and fabrication, signaling optimism, regeneration, and learning in Burnley.

Lighting Supplier: Light fixtures & light programming Prism Supplier: Yangzhou Huasheng Optical Instrument Factory

Client: Burnley Borough Council Location: Princess Way, Burnley, Lancashire, England


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