HYPERCRAFT-RESEARCH

Maud, Emma en Lotte

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Our conceptboard. The material, colors and images combined are telling the story of urbanization nowadays. 

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URBAN_REJECT

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URBAN_HYBRID

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URBAN_SURREALISM

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REJECTION

Nature inspired looks and natural materials. Sustainability as it’s priority

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HYBRID

Milky surfaces, densely woven, textured, but with a crisp, optimistic feeling

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SURREALISM

Two faced fabrics with rigid looks, assembled and contrasting

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Andrea Branzi - https://www.designboom.com/design/andrea-branzi-trees/

IMAGE: Abstract, reflection, nature, composition, industrial, aluminium, contrast, wood

MEANING:‘Trees’ is conceptualized as a micro-architectural space. branzi splits the aluminum frames with inset tree trunks and twigs, questioning the relationship between nature and culture, origins and product. ‘When birch tree forests are pruned or agricultural cultivations of fruit trees are picked, they are dispersed or burned. I have always been fascinated by these parts of nature, that continue to give off a grand expressive force, more powerful when they are combined with modern, perfect and industrial materials. they become mysterious, always diverse, unique, unrepeatable and somewhat sacred presences.

Trees, trunks and branches are part of our ancient culture but also of actual culture, because in the age of globalization, design searches to trace recognizable ‘anthropological’ platforms. the collection, ‘trees’ consists to place simple, everyday objects, books, and images next to the strange presence of branches and trunks, like in the reality of the world.‘

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Tatiana Bilbao - https://www.yatzer.com/los-terrenos-tatiana-bilbao-monterrey-mexico

IMAGE: Blending in, nature, invisible, earth, reflection, abstract

MEANING: Discreetly ensconced among its natural surroundings on a forested hillside southwest of Monterrey, Mexico, Los Terrenos is a private holiday retreat that stands out for not standing out. Designed by Mexican architect Tatiana Bilbao of Mexico City-based Tatiana Bilbao Estudio, the residence inconspicuously blends into the verdant scenery through a combination of spatial fragmentation and material ingenuity.The house consists of three separate rectilinear volumes, each built in a different material—glass, earth or wood—which accommodate different functions. Residing inside a notional square area in the middle of which sits a curvilinear pool, the design of the three buildings is a conceptual deconstruction of what a house is, its programmatic components disassembled and reassembled as separate, distinct entities that nevertheless coalesce into a coherent whole. Underlying the conceptual underpinnings of the project, the largest of the three buildings, which accommodates the public functions of the residence, takes the archetypal form of a house: think rectangular plan, gable roof. Yet at the same time, this quintessential form is undermined by the extensive use of one-way mirrors that reflect the forest around it making the structure practically invisible. It’s only during the night when the lights are turned on indoors that the building fully materializes.Inside, the sensation is as peculiar as the open-plan space feels both sheltered and exposed. 

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Ibarrola

- http://www.agustinibarrola.com/

IMAGE: Wood, forest, circle, balans, nature, blending in, retreating

MEANING: Agustin Ibarrola is an engraver, sculptor and painter. His work covers numerous plots of creativity. From the most open expression with artistic interventions in nature or public sculptures, to the serial production of the engravings, through the muralist conception or the plastic research, its expressive and at the same time rationalist language, it forms a varied, committed and rich exponent of the Contemporary art.

“ The references to artistic language and movements within art that have raised changes in the shape of the plastic space. Thus the first painting made in the forest, the white stripe, is an inversion of the Renaissance perspective because to see the line in a single plane the farthest has to be larger than the closest. 

Before entering the forest, we must remember that we are the ones who have to play to build and destroy the forms, according to the point of observation that we choose before each artistic composition. The shapes and colors painted on the cylindrical support of the pines create a "three-dimensional muralism" that plays to recreate flat compositions in three dimensions. For this the artist has started from the volume-plane, concave-convex, negative-positive relationship, that is to say, the relation of the different elements that make up the space that are the basis of his sculptural and pictorial work.” 

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Comme des Garçons - https://theredlist.com/wiki-2-23-1249-1259-view-1980s-profile-rei-kawakubo-comme-des-garcons-1.html

IMAGE: Protection, isolation, deformation, blending in, cocoon, rejecting what is conventional

MEANING: From the SS 1997 collection titled “Body meets Dress, Dress meets Body”. The collection explored the unconventional body and played with the idea of sculpting a new silhouette.

“Comme des Garçons (translated into English as “like the boys” and often abbreviated to CDG) has made a name for itself as a retail brand that embodies the philosophies of an avant-garde lifestyle and encouraging curious consumers to step out of their sartorial comfort zones. At once anti-establishment and commercial-friendly, CDG perfectly exists in the liminal spaces between fashion, art, and commerce.”

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Andrea Ponti - https://www.yatzer.com/best-of-milan-design-week-2017/slideshow/77

IMAGE: Multifunctional, architecture, urban density, grid, row, minimalistic, lines, graphic, geometric

MEANING: Shadows in the Windows is a project that portrays Hong Kong’s urban landscape through two symbolic elements: a window and a seat, in eight variations. The window is the architectural element that best represents the concept of urban density. In large apartment blocks and high rises, windows appear standardized and impersonal. They repeat in grids of identical rows and identical columns. At first sight. Yet a second glance will reveal the story behind each window: the story of the person or people that live behind that window, occasionally projecting their contours and their shadows over it. What emerges from that is a unique urban scenery made of frames and silhouettes, lights and shades, textures and colors. The seat by the window is the other symbolic element that contributes to the representation of Hong Kong’s urban landscape. The seat projects its contour and its shadows over the window, and it represents what is behind the window. Eight seats, eight shadows in eight windows. The eight seats share the same design concept: a square window frame, the contour of a chair, clean lines, steel and ABS. Yet each seat is different and embodies a unique version of the design concept. The Shadows in the Windows project is a metaphor of the architecture of urban density. It represents the relationship among the individual, the product, and the urban landscape.

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Patrick Blanc - https://www.verticalgardenpatrickblanc.com

IMAGE: Vertical garden, flowers, organic, wild, fluent, innovation, nature, variety, hybrid

MEANING: Plants are chosen for their ability to grow on this type of environment and depending on available light. L’Oasis D’Aboukir is a 25 meter high green wall by botanist and researcher Patrick Black, which covers a building facade in the second arrondissement of the city Paris. The wall features plants from 237 different species and appears to grow up the facade in diagonal waves. It was planted in the spring and covers the previously raw concrete facade on the corner of Aboukir Street and Petits Carreaux street.

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Christine Ödlund - http://www.christineodlund.se/

IMAGE: Innovation, tv, nature, wires, connecting, digital age, composition, knotted, not organized, messy vs structured, rectangle, electricity, cropped, bringing nature inside

MEANING:  Studies at KTH have shown that the yellow Admiral butterfly uses its front legs as drumsticks to knock on plants during specific periods of time. The butterfly's favourite is the nettle, which biologically is - like humans - categorized as eukaryotes. Scientists believe that the drumming is performed to extort chemical information from the plant. Ödlund has through her studies of the phenomena identified certain patterns and rhythms, her artistic interpretation being that the butterflies with their drumbeats induce the plant to hypnosis and in this disarmed state it reveals its chemical secrets. These studies have begotten to some of the works in the exhibition including sculptural installations where living plants seem to have taken over the laboratory environment and in which nettles are exposed to sound and music. Here she touches on the controversial scientists Cleve Backster and Dorothy Retallack who in the 1960s and 70s independently performed experiments on plants, which lead them to infer saplings with emotions and communicative abilities. Backster used his polygraph machine, while Retallack conducted experiments exposing seedlings to Indian sitar music and Led Zeppelin (concluding that the latter made them wither and lose their spark of life).

Christine Ödlund has studied ecological chemistry and how plants communicate with each other. Her art often oscillates between the macro and micro levels and reveals how vastly different phenomena overlap visually, in abstract animations, drawings, sculptures and music. She makes cross-references and links according to a logic that is not accepted within conventional natural science.Ödlund has previously worked mainly with the video camera, but her oeuvre has now developed in new directions. In her animated images and audio compositions she formulates that which researchers and clairvoyants know, but we others may find hard to perceive.

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Latifa Echakhch - http://www.kamelmennour.com/fr/media/6772/latifa-echakhch-la-depossession.html

IMAGE: Hanging, falling, nature inside, air, breath, industrial, natural, practical, fluent, draped, conceptual, deconstructing, contrast, irony

MEANING: Born in Morocco and raised in France, Latifa Echakhch mines cultural stereotypes as subject matter for her work. By deconstructing and re-presenting materials associated with Morocco and France, Echakhch creates sharp-witted installations that challenge cultural assumptions. Her work, between surrealism and conceptualism, questions with economy and precision the importance of symbols and reflects the fragility of modernism.

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Michael Johansson - https://www.ignant.com/2013/01/22/michael-johansson/

IMAGE: Stacking, full, fitting, changing function, urge to make a composition, industrial, kitchen materials, steel, stone, too much stuff, round, curved, creating new object out of old objects, assembling, displaying function, functionality, organization, control

MEANING: Michael Johansson is a passionate artist devote to all things ordinary and organized neatly. What will probably take your eyes snap to his work is the same obsessive compulsive elegance. There are piles of storages, furniture and some cutlery amonst them beyond, all together grouped like one object and in a strange manner resulted into an artwork. Fascinated by assembling objects from model kits as a child, Johansson transforms everyday objects into models of themselves. Displaying their function, while taking away their functionality, his work offers an artistic commentary on today’s ways of living: Organization is perhaps a way to control the world around us, however, if we start obey in a creative cosmic order we would understand the world better and we would live happier.

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Andreas Gursky - http://www.andreasgursky.com/en

IMAGE: Stacking, color blocking, old, transparent, vague, graphic, geometric, urbanization, overpopulation, suffocation, lines, boxes

MEANING: Andreas Gursky is an artist that likes to photographer most stock exchanges, concert areas, big box stores, sweeping landscapes, racetracks, and other locations, which engage in regular relationship with the human population. His monumental photographs of these environments have the effect of fully encompassing the viewer within the spaces they aim to portray.Gursky's photographs are often shot from an elevated, aerial perspective. This allows viewers to experience a scene in its full proportions, which would ordinarily be impossible, allowing for a visual comprehension of scope, center, and periphery. A straightforward and distanced observation informs Gursky's work, leaving us to formulate our own opinions and responses. We recognize his world as our own rather than one adorned with any personal messaging. Aggregate space performs largely in the success of each work. Even though his subject matter exists prior to his encounter with it, he manages to masterfully reveal its inherently harmonious sum of individual parts where objects become elements such as strata, line, geometry, color, and form.Gursky's photographs create a dialogue between painting and representation in that they go beyond merely capturing a piece of visual documentation - they in fact oftentimes conjure the look and feel borrowed from such movements as Abstract Expressionism and Minimalism. Although Gursky refrains from social or political commentary with his work, he admits an overriding interest in capturing the existence of globalism and consumerism as it relates to modern man.