The New Museum’s NEW INC and Onassis USA, the American outpost of the Greek arts organization, have announced a new joint venture focused on mixed reality projects. Called ONX Studio (for Onassis, NEW INC eXtended Reality Studio), the project will begin as a two-year pilot program and will function as an accelerator, workspace, and gallery located in a 4,000-square-foot space in Midtown’s Olympic Tower, in a space being redesigned by Leong Leong. ONX Studio has in part grown out of projects by NEW INC members and the challenges they’ve posed. “One of the thrilling things around NEW INC is that mixed reality has organically become a huge area of focus for the members,” explained Karen Wong, deputy director of the New Museum and cofounder of NEW INC, noting that many past residents, working with AR and VR, have found success at forums such as Sundance, South by Southwest, and the Tribeca Film Festival. However, mixed reality is new, and festivals, museums, and galleries are still exploring how to best incorporate it into their programming “Mixed reality is an area that’s growing by leaps and bounds but there’s no bespoke spaces in New York for this artist working with it,” said Wong. The new Leong Leong–designed space is being built specifically for year-long residents to experiment and create in, as well as to provide a platform to exhibit and share their work. Christopher Leong described ONX Studio as a “hybrid space,” one that blends its roles as both workspace and exhibition space. It will be focused around a large room that acts as an “immersive toolbox.” Secondary spaces, such as an acoustically-isolated exhibition space, as well as basics like kitchens and conference space will flank the center room, which is lined by an acoustic curtain. Furniture will be flexible, creating a kind of "cast of characters," that can be relocated throughout the studio. A theatrical grid of outlets, tracks, lighting, and other technological infrastructure will be built-in into the space, allowing for a flexible use of the studio, which could also be further subdivided or opened up. “The hope is that it’s open-ended in the way that it can be used,” explained Leong, “whether it’s for recording bodies in space with volumetric capture, as an artist's studio, or as a place to exhibit projections or sound pieces or mixed reality live performances. Our goal was to create an infrastructure that could support artists in many ways. We wanted to create a sense that the space could be transformational.” Wong noted that she saw the partnership with Onassis as especially compelling given the international organization’s penchant for commissioning radical theatrical works, and for their underway development of a program in Greece that shares sympathies with NEW INC, the Onassis Lab. ONX Studio plans to announce its initial dozen residents and open this spring. The artists—including previous NEW INC alumni—will spend a year developing mixed reality projects to be exhibited during a month-long showcase next winter. The program is being overseen by Wong along with NEW INC director Stephanie Pereira, Onassis USA artistic and executive director Vallejo Gantner, and the Onassis Foundation’s head of digital and innovation Prodromos Tsiavos.
Posts tagged with "Augmented Reality":
"There’s so much modern and contemporary art that isn’t shown," the mononymous artist Damjanski said as we walked around the fifth-floor galleries of MoMA, iPhones in hand. "What if we could bring even more in?" Along with Monique Baltzer and David Lobser, Damjanski has come up with a solution to these limitations with MoMAR, an "unauthorized gallery" that lives inside the recently-reopened museum from which it derives its name. The gallery takes the form of an iPhone app that uses augmented reality (AR) to introduce new art into MoMA by latching onto physical artwork as triggers. Initial exhibitions earlier this year featured new works layered on top of the existing paintings, offering a sort of secret secondary exhibition.
For its third iteration, titled Open to the Public, the MoMAR curators wanted to push the boundaries of the museum further, digitally intervening into the museum's architecture more directly. Manuel Rossner’s contribution, Reef, reconfigures the room it "sits" in. The German artist, who primarily works in virtual reality, has created a colorful cavern that expands beyond the gallery’s wall. Rather than simply replacing a painting, it cannibalizes it, and in turn considers what environments—physical or digital—might be made within the white-walled constraints of the museum. This vibrant, biomorphic intervention, which is algorithmically generated, adds a dash of play to the relatively rigid structure of the institution. One can imagine the artificial depth causing problems for the less attentive, and MoMA does officially restrict panning phones through rooms if you’re filming. Other artworks cheekily deconstruct our relationships to how we consume (and make) images in the museum. Akihiko Taniguchi has introduced an "augmented selfie" into the gallery, where a 3D avatar of the artist floats in the iPhone’s view. The digital Taniguchi’s arm is outstretched, phone in hand. If you press your screen it will save a picture to your phone and the animated avatar will take a photo too, his virtual self capturing his face in front of a wall of Morris Hirshfield paintings. Strokes, by the Japanese duo exonemo, is an act of artistic intervention (or vandalism). Just what it sounds like, when an iPhone is pointed at its tag (Joseph Pickett's painting Manchester Valley) random Pollock-esque strokes of "paint" will appear on the screen, disrupting and damaging the otherwise pristinely kept MoMA and its carefully kept goods. New York-based Erin Ko’s La Barrera diffuses glitchy fractured signs throughout the gallery—shattered emojis, 3D pyramids and bottles, all what Ko calls "floating garbage." Black brushstrokes cover a canvas that digitally displays quickly changing insipid networked truisms: "You don’t know stress until you own a charger that only works if your phone is at a certain angle." Is that stress? By disrupting the art on display and its vaulted home with her own internet throw up, Ko seems to point out the banality of the glut of content online and off, the constant distractions that the privileged find on their phones and in museums, in buildings and on networks developed by so much labor and producing so much waste, all of which so often is ignored. Where some smaller works hang on the wall a hole opens up, a portal beyond the museum, to nowhere real. An outside we can never reach, the hole reveals the museum as a trap. Despite the ways these works might prod at the museum that made and continues to makes the modern canon, flouting its celebrated art and its architectural integrity, Damjanski noted that he is not anti-museum in the least. He loves coming to the MoMA, but he sees many new opportunities in and beyond traditional institutions. "Museums are so often a one-way conversation," he pointed out. "We want to see if it could be a three- or four-way conversation instead." By involving the user and new artists in the museum, disconnected from its official institutional and curatorial structures, a more democratic, flexible, and updatable MoMA—an augmented one—can be imagined. MoMAR also provides and proposes new ways of exhibiting net art and other creative practices that engage with emerging technology that museums, excluding certain projects such as Rhizome, have been relatively slow to keep up with—though there are some net works like JODI’s video My%Desktop in MoMA’s rehang. Of course, to visit Open to the Public you still have to get to MoMA and pay admission or attend on a free night, which is also when MoMAR hosts its openings. To further the democratizing potential of AR exhibitions, MoMAR’s team offers up its Unity-based platform as an open-source tool so that people around the world can create their own installations and exhibitions well beyond MoMA’s rarefied walls. Open to the Public Viewable with the MoMAR app at MoMA, gallery 521, fifth floor Through January 25, 2020View this post on Instagram
Bauhaus is architecture. Bauhaus is costume design. Bauhaus is textile design. Bauhaus is furniture. Nearing the end of the celebrated design school's centenary, it has never been more clear that Bauhaus is everywhere, and Google Arts & Culture’s newest collection aims to make this revelation concise, user-friendly, and available to anyone with access to the internet. Developed in collaboration with Bauhaus Dessau and six other partners including the Solomon R. Guggenheim Museum and the IIT Institute of Design, Bauhaus Everywhere is an online collection that educates visitors through interactive and immersive technologies ranging from animated video to augmented reality. The project has digitized over 10,000 objects, artworks, and virtual tours of iconic buildings through 45 digital exhibitions covering the vast perspectives of the Bauhaus's life, pedagogy, and practice. The first stop on the journey is through five animated videos in the form of minimalistic cartoons drawn using basic geometry and a primary color palette. “Take a look around, chances are there is a boxy building around that was inspired by the Bauhaus," the second video states, demystifying some of the movement's key characteristics and how we engage with its influence today. Keep scrolling and you will come to an introduction on what the Bauhaus is, and some insights from Dr. Claudia Perren, Bauhaus Dessau’s director, on her top ten favorite pieces from the museum’s collection. Bauhaus Everywhere includes many glimpses into the institution that continues to guide the attitude and aesthetics of students within contemporary culture through inspirational “How-tos” such as “How to Dress Like a Bauhaus Student” and “How to Decorate your House, Bauhaus-Style.” One section titled, “What Was It Like To Study In the Coolest School Around?” provides an imaginative guide into student life from the application process, registering for classes, landing your first work-study job, meeting your teachers, and of course, going to the legendary parties. “You want to go to Bauhaus? Then show us what you’ve got. Put together a portfolio of samples of your work and send it to Mr. Gropius. He’ll decide if you have the aptitude…” the project reads. Alongside street-view explorations of built sites such as the Moholy-Nagy House and the Gropius House, you can also explore unbuilt homes in 3D, or if you have the Google Arts & Culture App, in augmented reality. By examining “sketches, scribbles, and vague descriptions” Google has also created AR models of three visionary buildings including the Rundhaus by Carl Fieger and Marcel Breuer's Bambos. Other highlights include profiles of some of the key teachers, a section dedicated to the roles women played at the school, a Google Earth tour of Bauhaus-inspired sites around the world, and high-res closeups of paintings by Wassily Kandinsky, Oskar Schlemmer, and Carl Marx, to name a few. As Walter Gropius famously stated, “Our guiding principle was that design is neither an intellectual nor a material affair, but simply an integral part of the stuff of life, necessary for everyone in a civilized society.” Bauhaus is Everywhere goes to great lengths to prove his point.
In one of the oldest neighborhoods in Cleveland, a group of architects, designers, and software developers are imagining the future of citizen-led urban development. Collective Reality: Image without Ownership took over an empty ground-floor retail space in Slavic Village earlier this month, featuring a low-fi installation of bright red foam, matte-black steel frames and an invisible, virtual overlay of crowdsourced urban objects. The installation, as explained by the creators, was meant to “allow citizens to engage in conversations about urban development by creating images of possible neighborhood futures.” The team behind this piece, Laida Aguirre (stock-a-studio), McLain Clutter and Cyrus Peñarroyo (EXTENTS), and Mark Lindquist, hailing from the University of Michigan Taubman College of Architecture + Urban Planning and the School of Environment and Sustainability, collaborated directly with the Slavic Village Development nonprofit group and LANDstudio to create a space which is referred to as a “laboratory for the development of the Collective Reality software.” The software, programmed by two other University of Michigan researchers, Frank Deaton and Oliver Popadich, is an augmented reality application that filled the exhibition space with a growing collection of virtual objects, spaces and, to the expectations of its creators, prospects of a new imagined city. Slavic Village, located near the industrial valley of Cleveland, has experienced a difficult decade of stagnant development after a majority of properties foreclosed during the 2007 financial crisis. While the housing bubble’s burst may seem like the primary culprit for its decrepit state, the neighborhood fits a list of textbook definitions for urban decline: The rapid disappearance of manufacturing, declining populations, loss of urban amenities, high amount of low-quality housing, poverty, and crime. Perhaps the most relevant ingredient in this cocktail of urban depression is the lack of outside investment, where only a few courageous individuals have decided to stake a claim in the future of this important area. It is this last ingredient which Collective Reality attempts to confront. Conventional urban development depends on capital to both create and envisage change; growth depends on how well an idea can be imaged, presented, and sold, typically consuming vast amounts of resources during its approval processes. Slick renderings require advanced computing and educated skill sets. Maps and other forms of urban planning communication are criticized for their exclusivity to the disciplines which produced it. Community board meetings, one potential space for citizen engagement, often take place in difficult to reach places or during times of which individuals can not afford to attend. These structures of urban development privilege wealth over local embedded knowledge, especially in places like Slavic Village where the socioeconomic divide is drastic. The team of Michigan-based researchers questions this status quo, asking if technology—specifically augmented reality—can offer opportunities to separate imagination from monetary means. The installation's interactive process empowers citizens to bridge this planning gap through devices more familiar to the everyday urban user. Upon entering the space, visitors are presented with a prompt—a request to capture several photographs of favorite spaces, places, and objects around the neighborhood with no more than a camera phone. Photographs are sent to the researchers, photogrammetrically transformed into three-dimensional objects, and then placed within the virtual environment of the gallery space. Visitors were encouraged to use one of the provided tablets to interact, manipulate and explore the collective imagination embedded within the augmented reality application. The physical installation, while seemingly in competition with its virtual counterpart, offered material targets for the application to recognize and attach to. In reality, the exhibition was no more than a funhouse of soft foam blocks to play with and climb on, at least in the minds of the children that visited. While the creators and their beta-stage augmented reality software ask important questions on citizen engagement, bottom-up planning, and collective empowerment in the age of ever-increasingly accessible technology, the physical nature of the gallery permits its users to actually act out their collective imagination. The bare, unadorned geometries of the red foam and steel frames were reminiscent of the simplistic playgrounds designed by Aldo van Eyck in post-war Amsterdam. It was the playground, he argued, which literally gives space to the imagination. This unintentional consequence of Collective Reality points out an important aspect of community development: the spaces and architectures which promote social interactivity are vitally important to the creative imagining of possible futures. Collective Reality: Image without Ownership ended on October 19, 2019. The gallery is located at 5322 Fleet Avenue, Cleveland, OH 44015.
Video game software suites like Unreal Engine and Unity have made their way into the architectural arsenal with AEC firms like Skanska, Foster + Partners, and Zaha Hadid Architects using them to visualize and test new buildings. However, these tools weren’t necessarily built with AEC professionals in mind and while they often result in nice-looking environments, they don’t generally offer much in the way of architecture-specific functionality like the ones architectural designers have come to rely upon in BIM and CAD software. To help bridge this gap, the company behind Unity is testing a new piece of software called Reflect. “Unity Pro is a super powerful tool that people use it for creating design walkthroughs and custom application development,” said Tim McDonough, vice president at Unity, “but these firms have a whole bunch of people that would like to be able to view their Revit data easily in a 3D engine like Unity without having to be a software developer, which is what are our current tools built for.” Reflect, which will launch publicly this fall, connects with existing software suites like Revit and Trimble to leverage the vast amounts of data that designers and contractors rely upon, and uses it to create new visualizations, simulations, AR, and VR experiences. Users can view and collaborate across BIM software and Reflect, which are synchronized in real-time across multiple devices for both desktop and mobile. “Users were saying it took them weeks to get data out of Revit into Unity and by the time they got it out, the project had moved on and what was done was irrelevant,’” said McDonough. “We’ve taken out the drudgery so that now what used to take weeks takes just minutes.” https://youtu.be/YnwcGfr0Uk0 A number of firms have already been putting Reflect to the test. Reflect is open source and allows users to develop their own applications, whether for use in their firm or for a broader architectural public. SHoP Architects has been trying out Reflect since the software entered its Alpha phase this summer, creating various solutions to test on their supertall project at 9 Dekalb Avenue in Brooklyn. Adam Chernick, an associate at SHoP focusing on AR and VR research, noted that while showing off buildings in software like Unity has become part of standard practice, getting those visualizations attached to critical information has been a challenge up until now. “It hasn't been super difficult to get the geometry into the game engines," he said, "but what has been even more difficult is getting that data into the game engines." One of the first uses for Reflect that the SHoP team devised was an AR application that allowed them to monitor the progress of 9 Dekalb and easily oversee construction sequencing using color-coded panels that map onto the building’s model in their office. Chernick explained that there was a huge amount of exterior window panels to keep track of and that the app really helped. “We wanted to be able to visualize where we are in the construction process from anywhere—whether in VR or AR, and be able to get a live update of its status,” he said. “Now we can watch the building being constructed in real-time.” The SHoP team has also leveraged the power of Reflect—and its integration with Unity—to create new visualization tools for acoustic modeling. “We created an immersive acoustic simulator where you get to see how a sound wave expands through space, reflects off of walls, and interacts with geometry,” said Christopher Morse, an associate of interactive visualization at SHoP. “You can slow it down, you can pause it, and you can stop it.” The idea, he explained, is to help architects make acoustic decisions earlier in the design process. “Currently a lot of those acoustic decisions come later and most of the geometry is already decided,” Morse said, noting that at a certain point, all designers can really do is add carpeting or acoustic tiling. “But we want to use these tools earlier and in order for that to actually work, we needed to enable an iterative feedback loop so that you can create a design, analyze and evaluate it, and then make changes based on your analysis." With Reflect, there's also no more grueling import and export process, which Morse said prevented designers from even incorporating tools in their workflow. “Once we had Reflect, we integrated it into our existing acoustic visualization software in order to make that round trip quicker so that people can put on the headset, make a change in Revit, and instantly reevaluate based on those changes.” There is also metadata attached to the geometry, such as material information. While 9 Dekalb is too far along in its construction to incorporate the new software heavily into the design, SHoP’s begun testing out their acoustic modeling app in the lobby of the project. https://youtu.be/f0IA55N_99o Reflect could also provide BIM data in more a user-friendly package to more people working on building projects. “We think that BIM is so valuable, but not enough people get to use it,” said McDonough. “We were trying to figure out how to get BIM in the hands of people on a construction site, so everyone can see all that information at a human scale.” At SHoP, this means creating apps that contractors can use on the job. Currently, their AR apps work on mobile devices, but SHoP hopes that, as AR headsets become more mainstream, they’ll also be able to use the apps on products such as the HoloLens. “This could be a paradigm shift,” says Chernick. “We realize that this massive, thousand-sheet set of construction documents that we need to create in order to get a building built is not going anywhere soon. But what we can do is help make this process more efficient and help our construction teams understand and potentially build these projects in more efficient ways.”
Morpholio, the architect-turned-developer-run company known for its Trace app that blends augmented reality, digital hand drafting, and other architectural tools on portable devices, has brought its interior design program, Board, to desktops for the first time. Coming on the heels of the new Mac Catalina operating system update, the desktop version of Board leverages the new MacCatalyst developer tool which allows for translating iOS apps to desktop more simply. Board, which is intended to apply a mood-board logic to technical interior design problems, has been designed for not only professionals but to make home design easier for average consumers. That said, with Board for Mac, Morpholio hopes to “take advantage of the unique properties of the desktop environment," says Morpholio co-founder Mark Collins in a press release from the company, “which is essential for professional work.” The desktop app will include mood board “super tools,” such as layer control and magic wand selection and deletion, as well as a feature called “Ava,” which creates spec sheets for clients and contractors. Ava gives automatic suggestions to match color and forms, and libraries of products from larger companies like Herman Miller and Knoll and smaller designers like Eskayel. It will also include new export features and provide further compatibility with Adobe and Autodesk products (as well as Pinterest). In addition, while Board for mobile already has AR features that allow for furniture to be placed in space at scale, the desktop version will allow for VR integration. “A typical furniture catalog would rely on still images,” says Morpholio co-founder Anna Kenoff, “but Board allows you experience expertly rendered models, created by the storytellers at Theia Interactive. You can view and spin around your favorite furniture pieces and experience them in every dimension. You can zoom in to stitching and materiality and feel the shade and shadows on their forms.” Additional viewing and presentation features will be built in as well and Board will take full advantage of Catalina’s updated Dark Mode for those who prefer to use it. “When Apple released MacCatalyst, they definitely had creative professionals in mind,” says Kenoff of the recent Apple release. “They wanted to amplify the power of mobile apps by combining them with the precision capable on a Mac. Few architects and designers work exclusively on a laptop, desktop or tablet. We hope to make our apps available wherever designers are working.”
In Tallinn, Estonia, a knotted wooden structure that combines both new and old technology has won the Huts and Habitats award at the Tallinn Architecture Biennale. Curated by Yael Reisner under the theme “Beauty Matters,” the biennale seeks to celebrate the beauty in opposition to architectural environs that can often be isolating, alienating, and ecologically unsound. Steampunk, as the installation is called, is designed to show off the latest in tech while retaining a human touch. It was designed by Soomeen Hahm and Igor Pantic, who both teach at the Bartlett, as well as Cameron Newnham and Gwyllim Jahn of software company Fologram, and constructed along with the engineers at Format and the Estonian lumber building specialists Thermory. Standing 13 feet tall, the thermally-modified pavilion is made of steam-bent ash wood, with hand-crafted elements sitting side-by-side with parts that have been CNC-milled and 3D printed; blurring the boundaries between the analog and digital in process and production. Steampunk was also designed in part using mixed reality tech, further complicating this “human-machine collaboration,” as biennial juror Areti Maropoulo put it. “The structure challenges the idea of the primitive hut—showing how, by using algorithmic logic, simple raw materials can be turned into a highly complex and inhabitable structure,” said Gilles Retsin, TAB 2019’s Installation Program Curator, in a release from the biennale. “[Steampunk] consists of a bespoke merging of craft, immersive technologies, and material performance, for the production of dynamic organic forms that surpass building limitations of local precision or of the pure automate,” explained Areti Markopoulo, head of the jury for the installation program, in a press release. The pavilion is the latest in a long line high-tech timber installations, as architects, researchers, and educators all try their hand at pushing the boundaries of what timber can do; take Cornell University’s Robotic Construction Laboratory's LOG KNOT, for example. Steampunk will be on view until 2021.
Retail is dead. Long live retail. With the ubiquity of online shopping, brick-and-mortar retail has become more competitive. Good deals and low prices aren't enough to draw customers into stores anymore; today's customers are looking for experiences, according to developers and retail prognosticators. Canadian outdoor goods retailer Mountain Equipment Co-op (MEC) has teamed up with creative technology from Finger Food to offer an in-store—or in-home—experience that bridges the digital and the physical: augmented reality tent shopping. "Retail has gone through significant disruption and it's only going to get faster," said David Labistour, CEO of MEC. The outdoor company sees this disruption as a unique opportunity for growth. MEC offers more tents than can fit in their stores. Rather than hanging excess tents from the ceiling, MEC asked Finger Food to develop an application that would allow customers using a phone, tablet, or AR/VR goggles to see and explore a full-scale, fully rendered (inside and out) 3D version of every single tent that MEC sells. What's special about this particular use of the increasingly common AR technology is the unprecedented level of detail Finger Food was able to achieve. Finger Food create their ultra-realistic 3d models in an enormous room they call the holodeck — named after the high-tech virtual reality rooms in Star Trek. Using a proprietary photogrammetry rig and accompanying software, the company can take thousands of photos of any object to capture its geometries and textures at extremely high resolution. In addition to the realism, Finger Food's solution is distinguished by its speed—scanning an object requires less than an hour, compared to days that could be spent creating a 3D model from scratch—and the system has proven its capability to capture objects of any scale, from a pair of sunglasses to a semi-truck. Their work for MEC isn't Finger Food's first foray into the retail space. The group has previously worked with Lowe's home improvement stores to develop two augmented reality apps. One lets users see what products look like in their homes—everything from accent tile to a six-burner stove—and easily make a purchase afterward. The other app guides users through Lowe's 1000,000-square-foot stores to find the exact products they're looking for; it also notifies employees when an item needs restocking. Customers can currently use the AR application at MEC's flagship Toronto store, with a larger rollout planned. "We believe the future of the customer experience will be significantly changed through the integration of technology," said Labistour. If these technologies prove successful, the retail experience and store design could be changed as well. In a future with augmented reality and next-day delivery, less space may be needed in stores as fewer items would be kept on display and in stock.
New York's New Museum, which has already launched a fair share of tech-forward initiatives like net-art preservation and theorization platform Rhizome and NEW INC, has teamed up with Apple over the past year-and-a-half to create a new augmented reality (AR) program called [AR]T. New Museum director Lisa Phillips and artistic director Massimiliano Gioni selected artists Nick Cave, Nathalie Djurberg and Hans Berg, Cao Fei, John Giorno, Carsten Höller, and Pipilotti Rist to create new installations that display the artistic potential of AR and help advance the museum’s own mixed-reality strategy. Each of the artists will create interactive AR artworks that can be viewed via iPhones with the [AR]T app on “choreographed” street tours that will begin in a limited number of Apple stores across six cities. Users will be able to capture the mixed reality installations in photos and video through their phones. Additionally, Nick Cave has created an AR installation titled Amass that can be viewed in any Apple store, and the company has worked with artist and educator Sarah Rothberg to help develop programs to initiate beginners into developing their own AR experiences. This announcement comes on the heels of much industry AR and VR speculation regarding Apple, in part encouraged by recent hires from the gaming industry, like that of Xbox co-creator Nat Brown, previously a VR engineer at Valve. While some artists, institutions, and architects have embraced AR and VR, many remain skeptical of the technology, and not just on artistic grounds. Writing in the Observer, journalist Helen Holmes wonders if “Apple wants the public to engage with their augmented reality lab because they want to learn as much about their consumers as possible, including and especially how we express ourselves creatively when given new tools.” The [AR]T app will drop on August 10th in the following cities: New York, San Francisco, London, Paris, Hong Kong, and Tokyo
Nonument is committed to not only recording but celebrating the 20th century’s most important non-monuments. Founded in 2011, the multidisciplinary artist and research collective has amassed a record of built spaces that stand, if barely; forgotten by time through decay, technological or political changes, Nonument is preserving them even as they fall out of favor in a changing 21st-century society. Rather than present “a glorified collection of obscurities” or focus purely on architectural styles, founders Neja Tomšič and Martin Bricelj Baraga seek to develop a deeper understanding of public space and art, and how politics shape these spaces in our world today. In partnership with Mapping & Archiving Public Spaces (MAPS) project, the collective has a goal of cataloging more than 120 forgotten sites around the globe and bring them back into the public eye. Created by the Museum of Transitory Art, MAPS shares many of the goals of Nonument: its mission “aims to identify, map and archive public spaces, architecture, and monuments which are part of our cultural heritage, but are not yet identified as such.” And that’s where Nonument began. NONUMENT01 was a response to the demolition of a Brutalist icon, the McKeldin Fountain in Baltimore. A decision made with limited public engagement or input, the fountain had been an important gathering point for protestors and creatives, and the visual centerpiece of McKeldin Square. Upon its removal in 2016, Lisa Moren, a professor of visual arts, enacted the first art installation of Nonument, debuting an augmented reality app that allowed users to recreate the fountain on their screens, and interact with memories like protest signs and koi fish to discover their stories. The app and its launch event at the site continued the legacy of the lost monument and its role within the city, setting a precedent for Nonuments of the future. The database is just one component of Nonument. Case studies on architectural theory and live art, and performance events like Moren’s, are also an integral part of the collective’s mission, making it more than just an encyclopedia of degrading buildings. While the act of listing the monuments breathes back a certain degree of life, critical discourse and real-life opportunities for interaction with the listed structures completes a circle of study and renegotiation with the space they occupy—aligning with the overarching goals of the group. From nuclear power plants in Austria to stone sculptures in Serbia, the database is set to become a comprehensive collection and research resource for the 20th century, and continue to unearth the stories that matter, and rewrite the rules for sustainable management of our cultural heritage.
The phrase “bring a project to life” is thrown around casually by creative types of all creeds, from industrial designers to conceptual painters—people whose daily lives involve intense engagement with communication tools that allow the ideas in their heads to exist in the physical world. Emerging technologies from 3D software to VR goggles have revolutionized the way that clients can experience a designer’s vision, and now, Hyperform, a new collaborative and data-driven design tool, allows the design industry to literally immerse themselves—digitally—within a working project, blown up via augmented reality technology to 1:1 scale. Hyperform comes from a Bjarke Ingels Group (BIG) collaboration with Squint/Opera, a creative digital studio, and UNStudio. These big-name studios believe that their immersive software will enable designers to make the best decisions for the project and the client much faster, as the interactive elements are closer to complete project visualization than anything we’ve seen yet. Jan Bunge, managing director at Squint/Opera, said, “Hyperform marks the first time we can feel and sense a spatial condition before it gets built.” Client and designer can walk around a project, experiencing its massing, spatial qualities, and materiality, and simply use hand gestures to edit, delete, and alter this type of digital file in real time before it’s too late or too expensive to make a change. In a concept film, the Hyperform user is depicted as a disembodied hand, the viewer’s own, pushing at virtual buttons suspended in space and scrolling through horizontal libraries of architectural drawings, 3D models, and plans. Selecting a model and blowing it up with verbal cues to immersive size, the user shares it with a life-size colleague who materializes in a pixelated form before our eyes, calling in and “ready to join the meeting.” BIG has debuted this new tool at its curated exhibition, FORMGIVING – An Architectural Future History from Big Bang to Singularity, at the Danish Architecture Center in Copenhagen. Amid the exhibition of 71 BIG projects currently on the drawing boards, representing the firm’s active proposals for the future, Hyperform exists towards the end of the exhibition's “timeline”—near the top of the staircase near “singularity”—as the software represents the step beyond perceiving mere reality, going beyond into creating new realities—digital ones.
Artist Simon Denny is digging into data as a landscape, unearthing the possibilities of extracting material both physical and informational in Mine, a show at the Australian museum Mona. The show has found itself a fitting setting at Tasmania’s iconoclastic museum, the privately-run brainchild of entrepreneur David Walsh, that is itself a winding maze of darkened corridors partially carved into the Triassic sandstone of the Berriedale peninsula. The mine-shaft feeling is only increased by the museum's new Nonda Katsalidis and Falk Peuser–designed underground extension—a level of subterranean spaces connected by circular stone tunnels with metal ribs that they’re calling Siloam. Denny, whose previous work has fixated on cryptocurrency, the dissolution of borders, and other complications of our increasingly computerized world, works in the space between the two meanings of mine—both the extraction of physical material, like rare earth metals and lithium necessary for our devices, and the data mining and mining for bitcoins which has increasingly clear environmental impact in the form of outsize carbon emissions and land use. Mine looks at technological shifts and their impact on the IRL environment, as well as the entanglements of colonization and economics that have propelled resource extraction and all its environmental impacts. Instead of a canary in a coal mine, Mine will feature an augmented reality version of the nearly-extinct King Island brown thornbill, which researchers have recently discovered in Tasmania outside of its normal habitat, living inside a 3D version of a patent diagram of an Amazon warehouse cage that’s in actuality been designed for the company’s notoriously overworked and underpaid human workers. On the walls, the bird is overlaid onto pages of the patent and the AR bird, whose habitat has been all but destroyed by industry, flits throughout the exhibition on visitors’ phones or on "The O,” the museum’s unusual electronic guide. The exhibition has been designed as a trade show-cum-board game, where various devices that extract resources from the land and from human labor are displayed on a giant version of Squatter, a classic Monopoly-style Australian board game about raising sheep. Another board game, called "Extractor," will act as exhibition catalogue. Figurative work from other artists who investigate work and automation will be displayed, including Li Lao’s 2012 Consumption, which recalls the artist’s own experience working for the manufacturer Foxconn, and Patricia Piccinini’s 2002 Game Boys Advanced. The curators Jarrod Rawlins and Emma Pike hope, taken together, these sculptures will evince a “metaphorical workforce.” Mine is on view through April 13, 2020.