Friday, August 28. 2020
Note: the discussion about "Data Materialization" between Nathalie Kane (V&A Museum, London) and Patrick Keller (fabric | ch, ECAL / University of Art and Design Lausanne (HES-SO)), on the occasion of the ECAL Research Day, has been published on the dedicated website, along with other interesting talks.
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Via ECAL


Research Day 2019 Natalie D. Kane from ECAL on Vimeo.
Saturday, July 15. 2017
By fabric | ch
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As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 07.2017), via all its tags!
HERE ARE ALL THE CURRENT TAGS TO NAVIGATE ON | RBLG BLOG:
(to be seen just below if you're navigating on the blog's html pages or here for rss readers)
Thursday, July 28. 2011
Via Pruned
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by Alexander Trevi

(Photo courtesy of the Center for PostNatural History.)
We've always liked the work produced by the Center for PostNatural History, so it's great to hear that they've recently opened a central location in Pittsburgh, Pennsylvania, to house their collections, a ragtag bunch that usually travels around from galleries to museums to more atypical exhibition spaces. It's not Plum Island though.
Tuesday, March 15. 2011
Personal comment:
Could we consider to extend museums into outer or deep space?
We know that there are some art programs with the Nasa and the European Space Agency, but there are no permanent exhibition structures into space at the moment! (a memorial on the Moon possibly) ... Maybe one part of the Space Station could become an extension of the global Guggenheim ... Guggenheim Space ;) ... or maybe something more interesting!
Tuesday, February 15. 2011
Via Michelle Kasprzak via @chrstphggnrd
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Adobe Museum of Digital Media
Rhizome recently published a piece I wrote entitled “Moving the Museum Online“. The piece was a critique of the Adobe Museum of Digital Media, and also served as a platform to discuss the concept of online museums, and highlight a few examples that I thought were particularly noteworthy, including the Virtual Museums of Canada, the Museum of Online Museums, the MINI Museum, and Google’s recent Art Project.
In both the comments section on the piece and through Twitter comments and emails, people have kindly been pointing out other examples of online museums that are of interest. Here are three that stood out:
Guggenheim Virtual Museum (vintage: 2001): “The Solomon R. Guggenheim Museum has commissioned the New York firm Asymptote Architects to design and implement a new Guggenheim Museum in cyberspace. This is the first phase of a three-year initiative to construct an entirely new museum facility. The structure will be an ongoing work in process, with new sections added as older sections are renovated. The project will consist of navigable three-dimensional spatial entities accessible on the Internet as well as real-time interactive components installed at the various Guggenheim locations.
As envisioned by Asymptote and the Guggenheim, the Guggenheim Virtual Museum will emerge from the fusion of information space, art, commerce, and architecture to become the first important virtual building of the 21st century.”
muSIEum (vintage: unknown, pre-2009): This online reconfiguration of four Viennese museums “…displaying gender, criticizing the conventional hegemonial ordering of things”, and “bringing out the different storylines that could (have) been told with the same objects from a standpoint counter-acting the cultural hegemony of the patriarchal view”. An intervention that is needed not just in Vienna, I’d wager. In German only.
MIX-m (vintage: 2001 – 2003): “MIX-m stands for MIXed-museum. It is a contemporary art museum that exists both in physical and digital spaces, in localized and networked environments. MIX-m plays with the dimensions of its architecture: a mix between a real museum space (here, the Bâtiment d’Art Contemporain in Geneva) (1:1), a digital space based on the dimensions of its host (1:x) and a model of this game-like environment (1:50). MIX-m has the ability to re-locate itself into this existing exhibition environment, transforming, mixing and extending it into new territories. It offers therefore a variable environment to create art installations. These works, commissioned by MIX-m, can now define and modulate their presence inside an extended space spectrum: physical-digital, real-simulated, localized-networked.”
Read Moving the Museum Online on Rhizome, and join the discussion there or send me a Tweet (@mkasprzak) with your own suggestions of other virtual museum projects that exemplify either the lack in current physical museums (as muSIEum does), an additionality (as with the Guggenheim), or a hybrid space (MIX-m).
Tuesday, January 25. 2011
Via Designboom
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'teshima art museum' by ryue nishizawa and rei naito on teshima island
photo © noboru morikawa photos
'teshima art museum' by tokyo-based architect ryue nishizawa and japanese artist rei naito
recently welcomed visitors of the 2010 setouchi international art festival held on seven islands
in the takamatsu port area, japan. hugging a hilly site on the island of teshima, the museum
resembles a droplet of water caught in the middle of gliding across the land.

exterior view
image © iwan baan
see more images at domus
overlooking the inland sea to the north, the collaborative project was designed to interact
with its wooded surrounding, pushing the tangible boundary between architecture and nature.
two large elliptical openings define and orient the space while letting the interior collect pieces
of the elements: pools of water accumulate on the floor and freely shift and migrate according
to the breeze's direction; the sounds from the sea and foliage reverberate through the open space
while the ambiance is in constant change according to the sun's position and time of day.

collected rain water inside the museum
image courtesy lllabo
at 25 cm thick, the white concrete pod shell is devoid of any pillars or visible structural aid.
the gallery space is not a result of encapsulation but a careful negotiation between
the earth and the sky. visitors are encouraged to freely walk around the 40 by 60 meter
museum and connect with the present phenomena.

looking in to the interior
image © iwan baan
see more images at domus

large cut-out
photo © noboru morikawa photos

image courtesy office of ryue nishizawa

photo © noboru morikawa photos

a part of rei naito's work entitled 'matrix'
photo © noboru morikawa photos

photo © noboru morikawa photos
a meandering path around the site take visitors around mt. myojin, a small bluff between
the museum and the sea. the form and presence of the structure seemingly fluctuates with
the observer's vantage point, much like a dynamic drop of water traveling across a surface.

outside promenade
image © iwan baan
see more images at domus

art museum in context
image courtesy prkbkr

image courtesy prkbkr

image courtesy office of ryue nishizawa
made possible by the patronage of the naoshima fukutake art museum foundation,
the teshima art museum will continue to operate after the festival, hosting activities involving
art, architecture, food, the environment, and other creative intersections.

the museum adjacent to the nearby rice terraces
photo © noboru morikawa photos

site plan
image courtesy office of ryue nishizawa

contextual site plan
image courtesy naoshima fukutake art museum foundation
about ryue nishizawa:
born in 1966, nishizawa joined kazuyo sejima & associates in 1990,
established SANAA with her in 1995, and established his own practice
in 1997. along with sejima, he was awarded the pritzker architecture prize
in 2010. significant works include, 'honmura lounge and archive' (2005, naoshima),
'moriyama house' (2005, tokyo), and the 'towada art center' (2008, aomori).
about rei naito:
born in hiroshima in 1961, naito's major exhibitions and projects include
'being given' (2001, kinza, art house project, benesse art site naoshima),
'un luogo sulla terra' (1997, japanese pavilion, 47th venice biennale),
'tout anial est dans le monde comme de l'eau a interieur de l'eau'
(2009, museum of modern art, kamakura).
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be sure to check out raymund ryan's coverage of the museum for domus
with the always stunning photographs by iwan baan by clicking here.
Wednesday, October 13. 2010
Via It's Nice That
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The Tate Modern have always challenged people’s perceptions of art throughout The Unilever Series (now in it’s eleventh year), from Olafur Eliasson’s The Weather Project to Doris Salcedo’s Shibboleth they have always got people talking and the latest installation by Chinese artist Ai Weiwei is no exception. In his latest work 1000 square metres of The Turbine Hall’s floor are now covered in more than 100 million individually handmade replica sunflower seeds. (Read more)
www.aiweiwei.com
www.tate.org.uk
Wednesday, October 06. 2010
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For its new virtual museum, Adobe wanted more than a website designer: It wanted a forward-thinking architect who could make the space feel "physical." It turned to Filippo Innocenti, co-founder of Spin+ and an associate architect at Zaha Hadid Architects. via Arch Record
Personal comment:
11 years after La_Fabrique and 6 after MIX-m (for MIXed museum, at the MAMCO and later at CAC), Adobe is lauching its digital museum designed by Filippo Innocenti & Zaha Hadid. Thank you the "avant-garde" ;) ...
Is this the time of the "slope of enlightment" for digital museums, opened 24/7 worldwide and dedicated to digital content?
Monday, March 08. 2010

Colleagues and friends Sarah Cook and Beryl Graham have just published Rethinking Curating: Art After New Media. I had the privilege of writing the Foreword for the book, and this is, in part, how I discuss their thesis.
“Graham and Cook strategically define so-called new media as a set of behaviors, not as a medium. Once you go down this road, it becomes readily apparent that a similar strategy is equally useful for much of contemporary art. At one time, the new media of photography both changed the aesthetic understanding of painting and participated in the creation of a cultural understanding of (fixed) time and representation. At another time, the new media of video changed the aesthetic understanding of film while participating with television in the creation of a cultural understanding of (real) time and distance. The art most recently known as “new media” changes our understanding of the behaviors of contemporary art precisely because of its participation in the creation of a cultural understanding of computational interactivity and networked participation. In other words, art is different after new media because of new media–not because new media is “next,” but because its behaviors are the behaviors of our technological times.”
It is perhaps wishful thinking that this book will end the eternal recurrence of the same set of questions about what is new media, but it is a huge step forward.
“In Rethinking Curating, the sheer depth and breadth of intelligent reflection among a dedicated, global group of loosely aligned peers belie every summative, simplistic question or statement one has heard or made. “How much does it cost?” “What’s new about it?” “Why is it art?” “What’s next?” “It’s about process.” “It’s computational.” “It crosses boundaries.” “It’s new.” These questions and statements are not “bad,” but in this book Beryl and Sarah give them the context they deserve–the context necessary to move on to the real-world questions and issues of working with dynamic and emerging contemporary art.”
Buy it. Read it. Enjoy it. Ask some new and different questions.
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Via Northern Lights
Personal comment:
Following an earlier post about the same book, some short developments here by Steve Dietz.
Friday, July 31. 2009

A few months ago we presented you the winning entry for this years YAP competition for the P.S.1 summer installation, awarded to MOS Architects (Michael Meredith, Hilary Sample) as we reported earlier.
This competition has been a field for experimentation on digital manufacturing, new materials and new construction techniques -all under a tight budget-, as we saw in 2008 with the P.F.1 by WORKac.
To keep the courtyard fresh, a series of “hut” like structures conformed by inverted catenaries (part of an on going research by the practice) acting as chimneys: The faux fur that covers them collects heat from the sun, transfering it to the air inside the huts creating a chimney effect that keeps air flowing to cool the lower level.

The resulting space corresponds to the after-party concept envisioned by MOS:
The main purpose of the afterparty is to provide a relaxing environment, as compared to the earlier venue, where the atmosphere is usually more frenetic. During an afterparty people often sit down, relax, and chat freely, meet new people in a more controlled setting. If the original party was one that continued until late at night, the afterparty will often include a morning snack, which usually counts as breakfast. …. Possibly in contrast to relaxation, the afterparty can provide a chance for people to get away from the eyes of people who were overseeing the main party. This tends to be more common in events such as school balls where alcohol consumption is not allowed, and provides a location where the partygoers will be allowed to drink. In this case, the afterparty may turn out to be more lively than the main party, as the people are freed from the restrictions that were placed on them during the main party.
All photos by © Florian Holzherr. See more after the break:

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Via ArchDaily
Personal comment:
Un mélange entre hi-tech génératif (+ ou -) et vernaculaire (+ ou - tentes nomades mongoles (?)), avec un discours sur la gestion des fluxs thermiques évoquant clairement les "architectures sans architectes".
Et un exemple de plus de l'utilisation renouvelée des pavillons comme support de statements (traditionnel celui-ci, puisque le PS1 de New York est un des premiers à avoir relancé le style). Les projets de MOS sont à regarder sur leur site, tout cela a l'air assez intéressant.
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