Exhibition

Through its many components MAB16 will showcase outstanding media architecture artworks that explore experimental materials and practices for creating places in the urban environments of contemporary cities. The MAB16 exhibition will primarily focus on showcasing local, emerging artists and their culturally diverse approach to creativity in this field of interactive public art.


Feu-Principe de contradiction

The Concourse

Videospread is pleased to present « Feu-Principe de contradiction » from artist Anne-Valérie Gasc, during the Media Architecture Biennial in Sydney from June 1st to 4th 2016. The films will be screened on The Concourse screen during the event.

Feu-Principe de contradiction is the title of an installation grouping an artist book, two videos and a serigraphy.
This project is articulated around the collaps of the Ten Democracy Towers that took place on October 11th 1994, in the Minguettes area in Vénissieux, France.

Based on archives, Various small sparks replays the series of the electric impulsions that triggered the explosions.

This artist book is the following of Some Belsunce apartments (2008), and is inscribed in a trilogy and establishes a critical and detonating re-reading of the artist about Ed. Rusha’s first three famous publications.

Feu-Principe de contradiction, documented by two videos, is an action destined to confrom Various small sparks edition to the protocole enacted by Ed. Rusha : 400 copies. Contractually obliged to edit 500 books, Anne-Valérie Gasc proceeds, on January 25th 2015 to the combustion of the extra 100 copies.

Démocratie is the image of the« monument of dust », written in the ashes of the action.
A text from philosopher Paulo Pires do Vale entitled La maladie secrète (Lisbon, 2015) accompanies the installation.

For more information see:
http://videospread.com
http://documentsdartistes.org/artistes/gasc/repro23.html


MEDIA ARCHITECTURE COMPENDIUM

ART SPACE CHATSWOOD

The collection is based on research by the Media Architecture Institute and this year’s call for project submissions for the Media Architecture Biennale Awards. The compendium features extensive descriptions and stunning photos and videos, that give a vivid impression of the architectural and artistic impact of the projects. You can experience the collection as a panoramic interactive installation with 4 HD projectors. It will also show this year’s winner and nominated projects. The collection is also online as the free Media Architecture Compendium: catalog.mediaarchitecture.org

Opening Hours

27 May - 12 June
Wednesday - Sunday
17:00 - 21:00

2 - 4 June
10:00 - 21:00


SMART CITIES

WESTFIELD CHATSWOOD

What consttutes a ‘digital’, ‘intelligent’ or ‘smart city’? Do smart cites refect an underlying logic or set of key drivers, or is the designaton of ‘smartness’ chiefy characterised by the capacityfor a city to be more dynamically atuned and responsive to its own local specifcites? These are some of the questons that the CODE 1231 Ubiquitous Cites course has addressed by researching a range of existng and proposed smart city initatives across the globe.

The term ‘smart city’ joins a long list of city vision prefxes, such as electronic, digital, cyber, virtual, wired, sentent and ubiquitous, that since the early 1990s have sought to conceptualise productve relatonships between informaton communicatons technologies (ICTs) and the urban and built environment. Early digital city projects embraced the frst generaton Internet and were primarily focused on the development of urban scale informaton technology infrastructure. From an outcome and implementaton perspectve, this meant the development of virtual urban management platorms that generated an informatonal product — online informaton refectng the functoning of real and physical places.

Opening Hours

Wednesday, 1 June
09:00 - 17:30

Thursday, 2 June
09:00 - 21:00

Friday, 3 June
09:00 - 21:00

Saturday, 4 June
09:00 - 21:00

Sunday, 5 June
09:00 - 21:00


MEDIA ARCHITECTURE AT VIVID LIGHT

This year, the Media Architecture Biennale features a number of outdoor light installatons, which will be shown as part of the official Vivid Sydney Light program. The installatons feature artsts and designers that are affiliated with the Media Architecture Biennale program. Each work showcases novel approaches for using light and media within urban public spaces to create destnatons and connect passers-by with each other and the spaces they share.

Opening Hours

27 May - 18 June
18:00 - 23:00


Flurry

Circular Quay, Vivid Light

Flurry at Vivid Sydney

Flurry is an interactve ‘architectural sculpture’ that sits at the harbour’s edge, its curved organic shape and arches creatng a vaulted tunnel on the way to the Sydney Opera House. The structure twists in on itself, forming two interior spaces atuned to movement.

Partcipants interact with the architectural entty by spinning and waving and dancing and jumping, their movements and gestures delivering personalised lightng performances that transform the translucent ‘skin’ of the structure with shifing waves of coloured light.

As Flurry interacts with the movements of each partcipant, its surface (or ‘skin’) becomes an elaborate, whirling garment; the architecture actng as an extension of the human body and a medium for human expression.

The structure was designed to be entrely digitally fabricated using CNC (Computer Numerical Control) machining for the purposes of ease of assembly, disassembly, replicability of parts, and precision.

It is composed mainly of aluminium, for its strength and lightweight characteristcs, plus a thin membrane. This enables the form of the structure to open out from the inverted shape of a vaulted arch to the drama of a curved cantlevered canopy, framing views of Sydney Harbour. The triangular skin plates act as both a surface for the architectural form and a trussed frame that binds the radially aligned ribs together into a solid and stable structure.

Flurry is a partcipatory and expressive structure that engages with its visitors; it demonstrates powerful new ways of experiencing built structures through the applicaton of interactve technology and it utlises architectural design features to create a sculptural aesthetc.

ELIOT ROSENBERG
in collaboraton with
KEVIN SMALLER
ROTEM SHALEM


PARTICIPATION+

Circular Quay, Vivid Light

Participation+ at Vivid Sydney

Partcipaton + enables visitors to create messages that become an inclusive part of the installaton. Partcipants create their own short story or text message via a visit to the Partcipaton+ homepage.

The installaton is structured using a series of modular elements in the shape of a plus (+) symbol. Each plus (+) symbol carries four LEDs and are placed within a three dimensional grid.

Visitors can engage and interact with the installaton up close or from a distance. Within the installaton, they experience a hullabaloo of light; however, when further away they are able to view the dynamic content, sent by users of the app as it resolves on six low-resoluton screens.

Each story is highly individual but the installaton encourages all those who partcipate with it ‘the plus’ of sharing in its collectve creatve design and communicaton processes.

UNSW Computatonal Design
M. HANK HAEUSLER
LUKE HESPANHOL
in collaboraton with

UNSW Arch CoDe Society
NAZMUL KHAN
ROGER SAM
LACHLAN SHARAH
JAMES STEVENSON
ISABEL CHIA
MADELEINE JOHANSON
+ several CoDe student volunteers

Media Architecture Insttute Sydney/Beijing
M. HANK HAEUSLER
LUKE HESPANHOL
MARTIN TOMITSCH
ZHUMING CHA

Ludwig Maximillian University Munich
MARIUS HOGGENMÜLLER

ARUP
JOHN VAN ROOYEN

ROTODYNE
IGOR DA SILVA


PTOLEMi

Circular Quay, Vivid Light

PTOLEMi at Vivid Sydney

PTOLEMi is an architectural installaton that swirls along the edge of Campbells Cove, an abstract representaton of the cultural values and artstc practces of the ‘iGeneraton’

The iGeneraton is broadly defned as a generaton born into the new millennium, defned by their technology and media use and their love of electronic communicaton. The ‘i’ not only refers to types of mobile technologies (iPhone, iPad, iTunes, Wii) but the fact that these technologies are individualised in the way they are used.

Artsts and architects are increasingly infuenced by the practices and values of the iGeneraton, engaging in what the artst refers to as ‘digital bricolage’, where work is constructed from the materials at hand. In the digital world this involves the inclusion of computerised elements that control physical enttes, giving rise to new approaches to space, environment and form.

PTOLEMi is highly innovatve in its form, constructon and digital content. Visitors enjoy immersive experiences, enabled by the use of embedded sensors and media platorms using sound, video and graphics. LED and interactve technology add dynamism to the otherwise statc structure.

The swirling patern that forms the structure and surface of PTOLEMi was constructed and developed by computaton and advanced engineering whilst utlising basic constructon principles.

Visually, the structure delivers a sense of both tension and compression, resembling opposing currents in a whirl of contnuous moton – the artst’s metaphor for ubiquitous technology

REBEKAH ARAULLO
in collaboraton with

ARUP
XAVIER NUTTALL
JAMIE SCOTT-TOMS
PETER MACDONALD
BEN COOPER-WOOLLEY
BRIAN SMITH
DOMINIQUE VIEIRA

Lightng
CAITLIN DE BERIGNY
STEVEN BAI
JOSEPH CROSSLEY

Media Architecture Insttute
M. HANK HAEUSLER
FELIX CHUN
TIARA DOBBS
TAC LION


SENTIMENT COCOON

ROYAL BOTANICAL GARDEN, VIVID LIGHT

Sentiment Cocoon at Vivid Sydney

Sentment Cocoon is an interactve installaton that seeks to capture and express human sentment through the medium of light. A simple interface allows partcipants to express how they feel by how they touch. These interactons are then transformed into pulses of light that travel throughout the cocoon.

Sentiment Cocoon aims to represent a collectve visualisaton of the way people are feeling in the immediate environment of the installaton on any given evening. The focus is on the exploraton of architectural form, with translucent materials and responsive lightng to facilitate social interacton. Ultmately, the aim is to foster the notion of public spaces as the social centres of our cites.

The lightng design creates an enigmatc display, with ambient light trickling into the cocoon from the sky and blending with light emited from LEDs. This allows for a rich interacton of varying forms of light, which is difused through the skin of the cocoon.

The system architecture of the artwork allows for the tracking and displaying of several behaviours. These parameters are encoded into lightng paterns that suggest the collectve mood of partcipants. The sentments are encoded in diferent colours and movement. Colour gradients, velocity and movement are represented through paterns. Over tme, the paterns become recognisable as the overriding sentment of the evening.

Sentment Cocoon is yet another example of the increasing proliferaton of media–architectural interfaces mediatng architecture with human behaviour. These social applicatons will ultmately lead to responsive, adaptable and clever buildings that serve human wellbeing.

MORITZ BEHRENS
KONSTANTINOS MAVROMICHALIS
in collaboraton with

Arup
NATHAN WHITFORD
ACHIM MEYER


SILENT ISLAND

CIRCULAR QUAY, VIVID LIGHT

Silent Island at Vivid Sydney

Silent Island is an immersive digital environment, an ‘urban island’, free of noise polluton — yet located in the middle of a busy public space

Visitors step inside the silent structure of the installaton, where it is as if a giant robotc ‘mind’ is listening to the noise of the surrounding public space. Its functon is to translate the exterior noise in real-tme into light paterns played out in the structure’s interior.

The raw city soundscape is further interpreted and rearranged into increasingly complex visual paterns. Over tme, a cumulatve visual memory of the exterior urban space emerges from this process and is consolidated as a high-resoluton animaton projected in the centre of the internal, silent space.

Each night, a new artstc rendering is produced by the digital ‘mind’, refectng the paterns of noise polluton in the urban space over that tme period.

Visitors to the interior of the installaton are graced with an unusual, inverted sensorial experience: they can experience the full impact of the urban noise visually, but are deprived of the actual sounds.

This sensorial dissonance turns visitors into the ultmate drivers of the interactve experience: how much silent visualisaton of the external noise is actually bearable? How long untl someone speaks up and breaks the silence? Or how much noise translated as light paterns can be actually appreciated before someone feels the urge to walk back outside and check what or who is causing it?

The seeming lack of auditory acton inside the space highlights the correspondingly active nature of the outside and proposes a more thoughtul appreciaton of the volume, quality and causes of pervasive urban noise.

LUKE HESPANHOL
OLLIE BOWN
RACHEL COUPER
IVANA KUZMANOVSKA


Call for exhibition & awards entries

We are pleased to announce the third call of the Media Architecture Biennale awards for outstanding projects at the intersection of architecture, media and interaction design.

This call targets projects that are already built or realised in the following categories:

  • Animated architecture
  • Money architecture
  • Participatory architecture & urban interaction
  • Spatial media art
  • Future trends & prototypes
Please note also that this is NOT a call for art installations to be exhibited at the Media Architecture Biennale.

Submissions

Submissions for the 2016 exhibition have now closed.

For further details please download the application form PDF.

Completed applications should be sent to awards@mediaarchitecture.org by March 15th, 2016, 11:59pm PST.


Exhibited works

This page will be updated with the works included in the exhibition once they are announced. In the mean time, you can view the works that were included in MAB14.


  • Glenn Harding

    Urban Screen Productions

  • Gernot Tscherteu

    MAI

  • Brad Miller

    UNSW