“We hope this will be a really empowering experience for people to start to see their world differently, see themselves differently, and understand how the types of skills that spies use can be relevant to their daily lives,” says Shelby Prichard, SPYSCAPE’s Chief of Staff. “We show how the world of espionage is all around you.”

Adjaye Associates consulted former members of renowned hacking collectives, station chiefs, and intelligence directors when designing the museum. The goal was to have visitors catch on to its mysterious atmosphere as soon as they walked through the door. The resulting space boasts a highly futuristic aesthetic, as characterized by dark concrete walls, polished concrete floors, dim rooms illuminated by LED lighting, and high-tech information displays. Smaller interior features like weathering steel drums, smoked glass, gray acoustic paneling, and mirror-polished steel only serve to further connect patrons with their inner undercover agents as they explore the various exhibits.

The museum has been open to the public since February 17th, 2018. Upon arrival, visitors are handed “identity bands,” digital wristbands that allow patrons to take part in a series of interactive, multisensory challenges meant to put their spy skills to the test. Once the tour is complete, the crowd is moved to the debriefing room, where everyone is given an assessment on which of ten total spy roles they would be best suited for.
“We worked for a couple of years on our profiling system with [a] former head of training for British intelligence, as well as some top industrial psychologists,” explains Prichard. “So it really is a very authentic look at how the spy world thinks about what it takes to be different types of spies.”

Before players are given their respective spy roles, they’ll watch a briefing on secret intelligence in the central theater. From there, they’ll move to an interrogation booth, where they’ll “learn the art and science of spotting lies,” and a room filled with 360-degree projections of both live and pre-recorded CCTV footage, which itself is meant to mimic a surveillance mission. Later on, the visitors’ agility and reaction times will be tested as they creep through a laser tunnel.

Apart from participating in the spy games themselves, guests are also encouraged to peruse a selection of spy gadgets and smart tech in the gift shop. If you’re feeling hungry, you might stop by the museum’s café, where you can enjoy a cup of coffee and a bookshop with over 1,000 rare and first-edition spy books. There are also multiple event spaces on-site, where organizations can host private parties for as many as 600 guests.

Admission currently costs $39 for adults and $32 dollars for children. If you’re planning on visiting, head on over to SPYSCAPE’s official website for more information.

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Pantone calls Viva Magenta a nuanced crimson tone that offers a balance between warm and cool, drawing inspiration from a very organic source: the cochineal beetle. This insect produces carmine dye, one of the strongest and brightest natural dyes in the world. The psychology of this color is a rebellious softness that’s impossible to ignore, speaking to our desire to take on new challenges while meeting others with compassion.

“As we balance our digital and physical lives, we continue to grow our appreciation for the natural world,” says Pantone. “The Color of the Year 2023 acknowledges our gravitational pull towards natural colors as movements swell around climate change, sustainability, and land protection. Viva Magenta offers us the assurance and motivation we need to weather long-term disruptive events.”

“Three years deep into a pandemic, facing a war, an unstable economy, social unrest, supply chain breakdowns, and mounting climate change, we need to heal. And still, we need to find the motivation to continue. Here, Viva Magenta cloaks us in both power and grace, and sends us out into the world with the verve we’ve yearned for.”

Pantone unveiled Viva Magenta at ARTECHOUSE in Miami Beach alongside its exhibition Magentaverse. Presenting its Color of the Year as an immersive experience for the fourth year in a row, the company projected magenta-hued images captured by NASA’s James Webb Space Telescope and other outer space images into an animated LED tunnel. As visitors explored the exhibition, they activated a LIDAR sensor that triggered the visualization of data in real time.

Pantone also used the AI generative tool Midjourney to create a series of promotional images featuring Viva Magenta, and they’re every bit as surreal as you’d expect. That’s a fitting choice, given that Pantone sees Viva Magenta as a color “capable of driving design to create a more positive future.” Of course, the choice of the term “Magentaverse” is no accident, referring directly to the looming prospect of the metaverse in the near future.

If you want to incorporate Viva Magenta into your home this year, use it as a vibrant pop of color in a neutral setting or make it the focal point of the space in large-scale form using a painted accent wall. ArchDaily has a fantastic gallery of architectural projects that have already employed colors in a similar vein, using saturated magenta for furniture, built-in bookshelves, and even entire facades.

To get a sense of just how much Viva Magenta aims to change our collective mood for 2023, look back on the previous Colors of the Year. In 2022, Pantone chose the soothing warm bluish-purple shade Very Peri to help people get through difficult times. The company saw it as representing “courageous creativity.”

Back in early 2021, when the effects of the coronavirus pandemic were perhaps at their most dramatic (thus far, at least), Pantone announced two Colors of the Year: “Ultimate Gray” and “Illuminating” yellow, a contrast of neutral and bright shades meant to symbolize dependability and cheer.

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Ceysson & Bénétiere Gallery Presenting Daniel Firman

Entitled Attitude Jade #3, this piece by Daniel Firman had many visitors hesitantly approaching, afraid they were about to experience a jump scare or a performance piece a la Marina Abramović. It appears, at first, like perhaps a young woman is taking a long time gazing at some kind of artwork mounted on the wall and shrouded by a piece of fabric. But the whole thing is actually a hyperrealistic sculpture made of resin, clothing, a wig, and shoes. It was definitely among the most Instagrammable pieces in an event designed to produce Instagrammable pieces.

The Future Perfect at Design Miami/

If you’ve ever thought that furniture design was boring, even momentarily, take in this booth by The Future Perfect like a shot of espresso for your brain. Presented at Design Miami/ 2022, a collectible furniture fair exhibited as part of the larger Art Basel Miami event, the booth includes an alluring array of fascinating works, including a wool carpet by Claudy Jongstra, a Chris Wolston bronze coffee table, and boucle-and-aluminum club chairs — get all the details about every last element in this photo here.

Leandro Erlich Retrospective

Presented at the Pérez Art Museum Miami (PAMM) is Leandro Erlich: Liminal, the first monographic exhibition of Argentinian artist Leandro Erlich’s work in North America. The exhibition features 16 works spanning more than two decades throughout PAMM’s special exhibition galleries. The works are arranged to create a narrative storyline as visitors make their way through the gallery, encountering reality-shifting interactive installations like Swimming Pool, originally created in 1999.

Mark Grattan at Design Miami/

Also at the Design Miami/ fair, furniture designer Mark Grattan’s sexy mirrored bedroom display was like 1980s cocaine culture softened up for 2023, its hard chrome edges contrasting with soft, curving lavender upholstery. Located in the booth by T&C O.G. Cristina Grajales, the display served up an aesthetic we didn’t know we were craving.

Perrotin Presenting Hernan Bas

Miami native Hernan Bas captured both the attention of festival goers and an excellent sum for his painting, titled Conceptual artist #15 (Performance based, along with a troop of hired actors he takes residence in ‘fixer upper’ homes and feigns nefarious occult activity to stir up the neighbors). Presented by Perrotin, the piece sold for $450,000. The title alone might be worth the price.

Savannah College of Art & Design Collaboration with Cerámica Suro

The Savannah College of Art and Design booth was an unexpected revelation at this year’s Art Basel, displaying works created in collaboration between SCAD students and Cerámica Suro, a Guadalajara-based studio known for pushing the boundaries of what artisanal ceramics can be. Founder José Noé Suro evolved his family’s manufacturing business into a globally renowned powerhouse through partnerships with leading contemporary artists. The vibrant collections of glazed tiles were created by SCAD alumni artists Nicolas Barrera, Lauren Clay, Gonzalo Hernandez, Cory Imig, Abel Macias, and Nikita Nagpal.

Thaddaeus Ropac Presenting Georg Baselitz

One of this year’s highest-selling works at Art Basel was also one of its most striking. London-based dealer Thaddaeus Ropac sold an abstract oil painting by Georg Baselitz entitled Emilio macht das Licht Aus (2020) for $1.4 million. The painting depicts a nude figure partially concealed within black and white brush strokes.

Sikkema Jenkins Presenting Maria Nepomuceno

Who doesn’t love to look at weird, slightly fleshy textile sculptures? Okay, maybe not everyone, but there’s no denying that Maria Nepomuceno’s work pulls you in to look closer and marvel at its complexities. Her display of colorful, organic forms was beautifully presented at Art Basel 2022 by gallery Sikkema Jenkins. This is just a taste of what the gallery has staged using Nepomuceno’s creations, so make sure to check out their previous exhibitions for more elaborate displays.

The post Our Favorite Works and Exhibits at Art Basel Miami Beach 2022 first appeared on Dornob.

The translucent white shingles are counter-weighted and attached to the exterior of an open-air gabled building frame using bolts that allow them to flutter up and down. When the wind blows or rain falls onto the shingles, they move, either slowly or rapidly, all together or in waves. This “shivering” makes the cabin seem like it’s directly responding to the weather conditions.

“She seems to have a personality: sometimes calm when the breeze seems to make her breathe, sometimes angry when the gusts agitate her in all directions…This animal character binds us to her and encourages us to spend time on the spot to observe its constant transformation,” the designers explain.

“It anchors visitors in the present moment. Its movements allow us to see, hear, and feel the wind more acutely. We are also connected to the surrounding trees, whose simultaneous agitation we perceive more clearly. Thus, Shiver House makes us aware of the natural world around us. By anchoring us in the present time and connecting us to nature, this cabin does us good!”

The movement keeps the installation in a constant state of transformation, holding visitors’ attention and hopefully creating a closer emotional link between them and the natural world where the hut is located. The structure builds on the success of previous iterations of Shiver House installed in Finland. This one is designed for longer-term use, and will sit within the park of Louvre-Lens for years to come.

The installation is the result of a collaboration between engineers Elliott Wood, NEON, and Odysee des Cabanes, a project that invites architects, landscape architects, designers, and visual artists to interpret landscapes through specially designed cabins, offering users the possibility of sharing moments of play, relaxation, discovery, or discussion.

NEON artist Viliina Koivisto and architect Mark Nixon founded their studio as a way to encourage playful interaction between art and everyday people. “We empathize and listen to ensure our projects resonate with people who use them,” they say. “We manipulate familiar materials in ways previously unimagined. We design with every sense in mind. We deliver once-in-a-lifetime emotional experiences.”

Inaugurated in 2012, the Louvre-Lens was created as a new off-site museum where an innovative approach to art could be developed from scratch. Located in the Nord-Pas-de-Calais region, the museum was designed by Kazuyo Sejima and Ryue Nishizawa from Japanese architecture studio Sanaa, and its main exhibition space, the Galerie du Temps, houses over 200 artworks on loan from the Louvre in Paris. Additional works like Shiver House V2 are located on its grounds.

The post Shiver House: Animal-Like Kinetic Structure Flutters in Response to Wind and Rain first appeared on Dornob.

“Like air taking shape uniquely within our bodies, our lives, and the world around us, this installation changes shape based on real-time, region-specific data as an abstract representation of how air quality impacts us all differently,” the creators explain.

“This interactive installation encourages its audience to reflect on their personal relationship to air quality both locally and globally. It also evokes a lasting, emotional response for those living with the greatest consequences of air pollution through the shared experience of a simple act — breathing.”

The kinetic structures change shape in response to data from local sensors and global data from an open-source API. Audiences who gather to watch the installations will be instructed to follow the breathing pattern of the structure, breathing in with every expansion and out with every contraction to see what it feels like to breathe the air in a particular location.

They’ll even be able to select a region of interest to control the installation’s movements. A QR code will lead the audience to an educational website offering more information and actions to take in their daily lives to reduce global air pollution.

Atta Society aims to deploy the first edition of the “When Air Takes Shape” installation in summer 2023 at various locations within British Columbia. In the future, they plan to take the installation around the world. Their recent Kickstarter campaign raised 214 percent of their goal with the support of 95 backers. They’ve already created their preliminary designs and prototypes, and the funds raised will be used to construct the final sculptures and deploy them in public.

“Within the current climate emergency, human livelihoods are at stake,” the creators say. “Those in less developed regions are especially vulnerable to environmental crises. As far as our world is from being a collection of isolated utopias, many privileged individuals do not understand the urgency, or possess the knowledge, to act upon climate change.”

“However, our consumption demands can increase the risks of individuals dying from air pollution in other parts of the world. As an alarming example, U.S. consumption is responsible for about 100,000 deaths occurring elsewhere in the world. Of those deaths, about 50 percent occur in China, with another 20 percent occurring elsewhere in Asia. Yet, consumerism persists, paralleled with the exploitation of individuals and the environment.”

The “When Air Takes Shape” project makes air pollution feel more personal, wherever you may live in the world. To follow this project and watch for future exhibitions, follow the Atta Society on Instagram @attasociety and on Facebook.

The post Shapeshifting Sculptures Show the Harsh Reality of Air Pollution first appeared on Dornob.

Burning Man came back in a big way after a two-year COVID-induced hiatus. Not only did this year’s event in remote Black Rock City, Nevada draw an incredible 80,000 attendees and end with an epic eight-hour traffic jam, it also featured a record 88 official art installations. This year’s theme was “Waking Dreams,” aimed at “explor[ing] the transformative power of dreams, both literal and figurative, and celebrat[ing] the dreamers who channel this potent energy in eye-opening, often surrealistic, sometimes life-changing ways,” according to the festival’s organizers.

Here are 6 of our favorite works of art from Burning Man 2022:

Empyrean Temple

Every year, one monumental art installation is set ablaze along with the Burning Man effigy. This year, it was “Empyrean Temple” by Laurence Renzo Verbeck and Sylvia Adrienne Lisse, an architectural structure that’s revealed to be a compass rose beacon in the shape of an eight-pointed star when viewed from above. The installation represents “the region just beyond our physical realm that is the highest center of wisdom, and the source of energy-consciousness,” according to the artists. Visitors passed through portal gates and into the “multiverse” of the temple, where numerous navigational choices offer different experiences.

Paradisium

Made of reclaimed lumber and trees burned in the CZU Lighting Complex fire in Santa Cruz, an interactive grove of geometric trees sprouts out of the sand. “Paradisium” by Dave Keane and Folly Builders of San Francisco creates a play of shadows across the desert floor and offers climbable structures and walkways among the canopies. The artists explain that “Paradisium is a grove made out of trees, long fallen, that remind us of the forest’s beauty and our interconnectedness and interdependence with nature, while also fostering a sense of community and an investment in our shared future.”

Gaia

This colossal sculpture by Marco Cochrane and Julia Whitelaw measured 40 feet by 12 feet and was made out of stainless steel rods based on a “flower of life” pattern and covered in stainless steel mesh with LED lighting effects.

“Inspired by and in honor of nurturing energy… mother energy… love and connection: and the joy we feel when we act on the imperative to take care of each other and our planet,” the artists explain. “Julia’s vision for Gaia was inspired by the joy she and her children experienced those times when, as a young mother, she took her children to the beach and watched as they ran, jumped, dug, built castles, bickered, buried each other, and made new friends, and by her own memories of being that child.”

The Museum of No Spectators

Architect John Marx and artist J Abinthia Vermut created this spectacular open-air art gallery challenging the “elitist” nature of typical galleries. The “radically inclusive and interactive museum space” creates a space for everyone to make art and become an exhibiting artist. Located on the edge of Black Rock City, the unusual shaped structure invited guests to create their own art on the spot, contributing directly without gatekeeping.

The artists add: “When participants exit, they find themselves on a stage, the Theater of the Participant, which opens you back up to the vast potential of the Playa and the World beyond. This is the stepping-stone to becoming the change you want to make in the world…”

Catharsis

Point of View

A collaboration between Serge Beaulieu and Yelena Filipchuck, this piece is inspired by embroidery patterns from Filipchuk’s birthplace, Ukraine. “It is not possible for us to think of this year without thinking of her homeland and wanting to represent the beauty and spirit of Ukraine while working through the emotions of this challenging time in our artwork,” the artists explain.

The post 6 Unforgettable Art Installations from Burning Man 2022 first appeared on Dornob.

Now, a new kind of space tourism vehicle is on the horizon. Last month, the Florida-based company Space Perspective unveiled their design for a spherical space capsule meant to ferry passengers to infinity and beyond.

Resembling something like a high-tech hot air balloon, the “Spaceship Neptune” will be the largest craft of its kind to ever fly so high, according to Space Perspective representatives. It will also boast a one-of-a-kind “splash cone” at its base to make ocean landings softer and safer, in addition to a slew of luxe amenities meant to elevate the space travel experience. A stellar room with ample windows, the capsule will allow passengers perfect panoramic views of the cosmos, while its “Space Lounge” equipped with a telescope and interactive screens makes the experience more immersive.

According to the company, the Spaceship Neptune is already under construction at the Space Perspective Shuttle Landing Facility, appropriately located at NASA’s Kennedy Space Center in Florida. Commercial flights are expected to begin as soon as late 2024. And while Space Neptune won’t actually reach space, it will be slightly different from the flights offered by companies like Virgin Galactic and Blue Origin, which only reach orbit briefly.

Instead, the Space Neptune’s flights will offer a more leisurely ascent to approximately 100,000 feet, giving guests out-of-this-world views of the atmosphere set against the vastness of space. From initial liftoff to splashdown, the passengers (which can include up to eight people, plus a pilot) will be treated to a relaxing and gentle ride over a total flight time of six hours. Additionally, passengers will not experience zero-gravity weightlessness during the trip, as they aren’t technically reaching space. This makes for a more comfortable and easy experience for all, and a chance to enjoy the thrill of space travel without the rigorous astronaut training.

Still, it doesn’t seem like Space Neptune’s flights will differ too much from its competitors in the way of exclusivity. After all, all space flights are expensive, and the ticket prices will likely remain firmly out of reach for people without deep pockets. However, they are significantly less than Virgin Galactic’s $450,000-per-seat price tag, currently selling for about $125,000 each. According to Space Perspective reps, almost 900 people have already purchased tickets for the trip in the balloon pod.

As more and more companies venture into space travel, more affordable space flights may soon be on the horizon, and not just for celebrity A-listers. The Arizona-based company World View is already planning a similar experience to Space Perspective for a significantly lower price tag, approximately $50,000 per seat. And while 50k is still out of reach for most of us here on the ground, with new developments in space tourism, it’s easier than ever before to envision a future when we can finally touch the sky.

The post Will Space Perspective’s Balloon Capsule Revolutionize Space Travel? first appeared on Dornob.

The mixed-media art installation explores how COVID-19 has impacted children and young adults around the world, expressed through commissioned pieces by composers, songwriters, and poets and recorded by the Young People’s Chorus.

A wide array of art forms come together in this project: video, sculpture, music, film, poetry, and spoken word. 500 singers with the Young People’s Chorus join the 15 composers and songwriters, seven poets, three choreographers, and two filmmakers to bring the stories to life. The exhibition aims to provide a powerful and intimate portrayal of the emotional strength, resilience, and joy these young choristers have faced since the pandemic first began in the spring of 2020.

“It was important to us to help our youth process their emotions — from confusion to fear to hope — through art while allowing listeners and viewers a glimpse into their hearts and minds during this time,” says curator Francisco J. Núñez, artistic director and founder of Young People’s Chorus.

Just like the rest of us, the members of the youth chorus have gone through a whirlwind of emotions throughout the pandemic. Pieces in the exhibit include songs like “Cabin Fever,” expressing what it felt like to suddenly be alone at home with stressed family members and no access to friends and old routines. “My Rainbow in the Window” is about finding small joys even during quarantine. “Power to the People” says “Just because we’re stuck at home doesn’t mean we’re stuck in our minds; just because we can’t hold each other doesn’t mean we stop the smiles. Fifty states protesting together, look at that a strong celebration. They won’t die in vain, we’re gonna fight, it’s time to save our nation.”

Participating artists include composers Samuel Adler, Derek Bermel, Thomas Cabaniss, Paquito D’Rivera, Aneesa Folds, Gordon Getty, Michael Gordon, Michael Harrison, Ted Hearne, Yuka C. Honda, David Lang, Elizabeth Núñez, Francisco J. Núñez, Jim Papoulis, and Paola Prestini. The exhibit is free and open to the public daily at the CIA at Copia, 500 1st St, Napa, California.

“We are thrilled that the public response to our AloneTogether installation at The CIA at Copia has been so positive that we have been asked to extend the exhibit through September,” says Núñez. “AloneTogether is a dynamic multimedia project that will give viewers a powerful and intimate portrayal of the range of emotions YPC choristers faced during the early days of the pandemic, from fear and loneliness to hope and joy. Art has given our youth a powerful vehicle through which they can process these complicated emotions and share them with the world. This is the power and beauty of art and what we do at YPC.”

The post The Young People’s Chorus of New York City Gives Voice to All Our Complicated COVID Emotions first appeared on Dornob.

Enter the newest offering from Yamaha Design Laboratory. “Stepping Out of the Slate” is comprised of four interactive music devices that aim to make playing music on your phone feel like a more tactile and immersive experience — an orchestra in your pocket that goes way beyond a simple push of a button.

Yamaha recently introduced prototypes for the devices, each with a snazzy name befitting its symbiotic function with your smartphone: the “TurnT,” “Winder,” “MusicLight,” and “RhythmBot.” The group aims to expand on the already burgeoning market for digital accessories and experiences that bring music to users’ pockets. But rather than solely relying on an app to replicate more traditional music experiences, these gadgets provide music lovers with a more interactive (and fun) way to play their favorite tunes.

The TurnT is just what it sounds like: a turntable, or record player, for your phone. Using your screen as the record, the TurnT’s stylus is positional and can be used to switch songs and albums, while also signaling the record to start playing. As the company recently said, “The step of carefully placing the stylus over the record [brings] back the nostalgia” of choosing your vinyl of choice and the anticipation of waiting for it to play.

If the TurnT is nostalgic, then the Winder plays even more on those retro analog feels. A key functioning as a music box, the user need only wind it to begin playing music on their smartphone. Here, the sound works directly in tandem with the movement of the spring, producing a distinctive flutter that is full of depth and texture for a more intimate interaction.

MusicLight is a candle that interacts with your smartphone. When lit, the music begins to play, as the sound itself changes gently with the flickering of the flame. The music even fades when the candle goes out. This accessory is all about creating a mood that works with the music, “Like listening to a song around a bonfire, the flame flickers in unison with the sound, creating a rich atmosphere,” says Yamaha.

Finally, the RhythmBot is a futuristic metronome that’s meant to accompany performers while they’re playing. But unlike its predecessor, the RhythmBot consists of four small bots that each play their own distinct percussive instrument. Able to sync with your phone, the bots are highly intuitive and can tune themselves to the players’ tempo. They can even accompany you as you play; the Garfunkel to your Simon, if you will.

Which new Yamaha toy are you most excited to try first?

The post Yamaha’s New Music Devices Make Smartphone Apps More Hands-On first appeared on Dornob.

“Since I was a child I have always loved hammocks,” Sala explains. “My grandmother was of Mexican decent and had all kinds of them in the garden of the beach house. When I was 20 years old I was living in Lisbon and I bought my first hammock and I used to hang it in the ‘miradouros’ of the city. Later the hammocks accompanied me on all my wild travels to the Greek islands. During the lockdown I was lucky enough to find myself in a house in the countryside and I hung one from two trees to get back to these wonderful memories and feelings, to that sweet rocking that cures all my worries. Long live the hammocks, they always make me smile… maybe because they are themselves giant smiles?”

A smile is a sweet way of looking at the arc shape of an occupied hammock, integrated here into a black metal frame as the bright red mouth while basic line work suggests the shapes of the eyes, nose, and face.

“Bruno’s Swing” is another incredible piece by Sala that similarly makes the interactive component the “heart” of the structure, while the frame offers both support and an aesthetic element. A child’s swing takes the shape of a bright red heart in the chest of the motherly figure wrought in black iron. Sala was inspired to create this sculpture after spending many hours in playgrounds enjoying the happiness and wonder of her child swinging.

Her child had recently grown too heavy to swing in her arms, and she missed that feeling. “With the swing I felt I was doing the same thing but with the help of an architectural structure,” she says. “Before this I had been that structure and in the future I will always be that structure, of care and affection. That is why when I drew it, it came out in the form of a self-portrait.”

“Fly High” is more decorative in nature, but no less impressive. This kinetic ceiling sculpture of a woman’s figure places her head, arms, legs, and heart on different hanging wires so they move independently, making it look like she’s floating or dancing any time a breeze rolls in.

Sala also uses wires and movement in her kinetic human sculptures series. Each one is like a meditative stress-relief toy — just twang a part with your finger and watch its moving elements gently sway or spin. Many have maternal themes, like a mother bird flying with her baby bird, a woman’s figure cradling an egg, and a family of figures relaxing together, all intertwined.

The post Smiling Hammocks and Artistic Swings: Fun Kinetic Sculptures by Geometrie da Compagnia first appeared on Dornob.

Based in Brooklyn, Mastrangelo has a background in fine art that shows in every item he creates. His childhood in Mexico and Argentina inspired a love of nature that informs his stylistic choices. He describes his aesthetic as “raw minimalism,” preferring to work with materials like cast sand, wood, powdered glass, sugar, and surprisingly enough, human ashes.

One standout collection is DRIFT, a series of sculptural pieces inspired by glaciers and natural earth formations from the designer’s voyages to Patagonia and the Grand Canyon. Consisting of a sofa, mirror, bench, and side table, DRIFT juxtaposes elements that are polished and highly finished with those that are raw and less controlled. Mastrangelo describes the sofa as coming together in a “poetic mass” of classic upholstery and sharp-edged sculpting techniques.

The CAPITAL collection is a series of three mirrors titled “Aurora,” “Marina,” and “Sahara,” which adorn reflective surfaces with hand-dyed sand to reference the natural beauty of Dubai. Another collection called RIDGE takes a darker tone, with layers of black, gray, and white sand creating the illusion of distant landscapes after sunset. These cast sand pieces include drums, tables, and wall-mounted slabs, as well as a 1,452-piece cut glass mosaic wall mirror mimicking the look of abstracted mountains.

You won’t often see Mastrangelo’s work at indoor design fairs. As far as he’s concerned, the next generation of buyers “is not interested in walking through a booth-filled convention center where they don’t feel connected to the experience,” as he told Surface Magazine. “They want to travel to see and interact and participate in the things they love.”

The designer often chooses to put his works on display in public spaces instead, such as “Tiny House,” an interactive pop-up full of lush plants that he parked in Times Square during NYCxDesign. This project shows off Mastrangelo’s vision of the future of design, using reclaimed materials and a small footprint to promote sustainability without sacrificing highly Instagrammable beauty.

Where will Mastrangelo’s work go from here? Even bigger and more interactive.

“I’m looking to use the language I’ve created through my sculpture and furniture practices in new and interesting ways,” he says. “This has led me to a newfound fervor for designing experiential spaces. At last year’s Collective Design, I designed a booth called The Dream that was inspired by a Henry Rousseau painting; it was a space designed to evoke the lush feeling of the sun setting in the jungle. This year, I designed the Art Basel Lounge for Audemars Piguet which will travel the world. It also transports its visitors, but this time to a Swiss mountain range.”

The post Natural Textures Meet Polished Beauty in Fernando Mastrangelo’s Sculptural Furniture first appeared on Dornob.

The original Subterranean Tropicália Projects would have been a massive multi-level structure with an almost maze-like interior where visitors “discover” works of art by Oiticica and other artists and have interactions with each other. Unfortunately, garnering financial support and permits from the city for such a large installation proved out of reach. PN15 reworks the project as a 40-foot-diameter circular structure of curving corridors offering visitors a multi-sensory experience full of plants and projected images. Throughout its run, the installation will also be a stage for interactive performances and workshops by Brazilian and queer artists.

The installation marks the first time an outdoor work by Oiticica will be displayed in the United States. The project is able to move forward thanks to the Americas Society, which acts as a connector for Latin American artists in New York through grants and exhibitions. A cardboard maquette for the original design and sketches for the two modified versions (PN14 and PN15) went on display in Part I of the Americas Society’s “This Must Be the Place: Latin American Artists in New York, 1965-1975.” Part I closed in December, and Part II ran through May 21st.

“This is an artwork that is as radical now as it was in the 70s,” Aimé Iglesias Lukin, Director and Chief Curator of Visual Arts at the Americas Society, told ARTnews. “This is an artwork that is free, has public access, and is inviting them to participate and is engaging with them. We don’t have enough of that.”

According to Iglesias Lukin, the exhibition offers a “re-reading of 1960s and 70s American art through the lens of immigrants, in this case Latin American immigrants. We need to start questioning to which degree New York became the cosmopolitan center that it is without immigrants. How do you explain the neo avant-garde without all the artists who came from all over Europe, Latin America, and Asia?”

Oiticica first envisioned the work for display at Central Park, but as Iglesias Lukin notes, the Central Park of today is very different than it was in the 1970s. Installed within Socrates Sculpture Park, it will have more of the impact Oiticica imagined, seen and experienced mostly by everyday working class New Yorkers rather than tourists and wealthy Manhattanites. The park is a place where local residents hang out, play basketball, go on runs, and walk their dogs. Oiticica wanted Subterranean Tropicália Projects to foster “creleisure,” a term he coined for creative-leisure, offering a space for both planned and spontaneous performances.

The post After 51 Years, Hélio Oiticica’s Sculptural Vision Finally Comes to Life in NYC first appeared on Dornob.

But it’s not just the architecture and design spheres playing pivotal parts in sustainable urban integration projects. Many artists are also sharing their talents to create interactive environments that encourage a more harmonious relationship between nature and the urban sprawl. The new “Bird’s Eye View” installation in New York’s Battery Park aims to do just that.

Opened on Earth Day last month, the art installation isn’t just interactive — it uses augmented reality to show viewers all the bird species that live and travel through Manhattan’s waterways through the lens of their very own smartphones. Dubbed “Bird’s-Eye View,” the installation is the work of NYC artist Shuli Sadé, whose display consists of both photographs and original watercolors of local birds.

By scanning one of the 70 designated QR codes found on the signs along the water, visitors are virtually transported to a magical and often overlooked world in the sky. The immersive experience also includes snippets of bird songs, information about the birds’ habits and migratory patterns, and carefully curated lines of poetry that “draw parallels between the repetitive nature of bird sounds and syllables in poems.” Bird’s Eye View offers visitors a unique glimpse into the lives of 30 migratory bird species that frequent the skies above the Hudson River and can often be seen in flight above Battery Park City’s many gardens and parks.

While a focus on biodiversity and sustainability is nothing new to the 92-acre park, this dynamic installation means to further cement the Battery Park City Authority’s (BPCA) commitment to both “establishing Battery Park City as a biodiversity haven and bringing [the] community temporary art installations that transform [public spaces]…and encourage social cohesion,” according to B.J. Jones, president and CEO of the BPCA.

As Sadé recently explained, “One of the early goals of this artwork was to heighten our awareness of the environment in urban surroundings.” These images, sounds, and interactive displays do exactly that by connecting us to nature in a new way, blurring the lines that often exist between the virtual and the natural through art meant to educate, inspire, and promote biodiversity.

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Founded in 2018, Bosie is a Gen Z-oriented brand aimed at “constantly exploring fashion that is suitable for both men and women. Through retro childlike fun and unique products, we can break the shackles and boundaries and show the innocence, seriousness, freedom, and romance of adults.” The Huaihai Road store is their 27th retail location and the fifth to be designed by Leaping Creative, but it’s certainly the most noteworthy of them all.

“The retail trend in China nowadays is day by day focusing on offering an exciting and fresh shopping experience. By working closely with the brand founder, we approached the design by defining the actual customer expectations for a shopping destination,” adds Zen Zheng, the Design Director of Leaping Creative.

And what is it that Gen Z wants? Novel experiences that take you on a journey. Bosie isn’t just a clothing store — it’s also a supermarket, ice cream café, pet supply store, and multimedia museum. The clothing isn’t categorized by gender or even type of garment. The displays are a lot more fluid than that, following particular moods and themes. As shoppers wind their way through the new flagship location, they’ll find a Jetsons-like setting designed to make them feel like they’re traveling through space and time.

The design embraces a slightly retro-futuristic vision of space travel. Reflective stainless steel sheets and lots of glass frame minimalist clothing displays and oversized decor, including an installation resembling a rocket engine. At the entrance, two semicircular glass elevator shafts have been modified into floor-to-ceiling LCD screens playing Bosie lifestyle content to draw passersby inside. A set of spiral stairs shaped like a UFO lead to the escalators. Conveyor belts, capsule-shaped fitting rooms labeled “no gender border,” and porthole windows add to the effect.

Even the restrooms, water dispenser, and vending machines look like they came from a 1970s sci-fi movie. Upstairs, the Bosie brand mascot, a goose, is reinvented as a 17-foot-long fiberglass machine. There’s a pet hotel so shoppers can drop off or interact with dogs and cats, and a photo booth labeled “Time Machine.”

The mannequins don astronaut helmets, and accessories are displayed in a high-tech laboratory-style environment. All of these elements come together to produce exactly the kind of space young people flock to for TikTok content, drawing even more attention to Bosie, which is quickly becoming a cult favorite. It’s a great example of what we can expect to see from retail design over the next decade as more brands embrace the idea of shopping as an interactive experience.

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The Playground

Designed by architectural firm architensions, “The Playground” is a conglomeration of arched towers, connecting frames, mirrored walls, and ground-level benches and piazzas. The colorful towers reach up 56 feet into the air, creating much-needed shade for festival-goers. Architects Alessandro Orsini and Nick Roseboro, from Italy and Brooklyn, respectively, intended for their art to create connections.

Says Orsini, “It’s a place to gather and a place where we hope that our differences will be at ease.”

Buoyed

In this installation, three 36-foot-tall buoys appear to float over a grassy surface, each incorporating a whimsical mix of design elements. “I needed to build something optimistic,” explains Dutch designer Kiki Van Eijk, adding that “My buoys are joyful totems that metaphorically prevent you from sinking when we come together.” The blue buoy is topped by a Dutch-style windmill, the white one has a neck like Seattle’s space needle and sports a pair of butterfly wings, and the green buoy is capped with a mosque-like dome and mini palm tree.

Circular Dimensions x Microscape

Exploring the significance of water in the desert, Coachella Valley-native artist Christopher Cichocki used 25,000 feet of PVC pipe to create a 50-foot-tall shell-shaped pavilion with three tunnel walkways. Inside the walkways, highly magnified images of barnacles, salt, water, and algae cover the walls, while a soundscape of original musical compositions fills the ears of visitors.

“My art calls attention to the natural world and industrial mutation. This I want to reflect upon the permanence of change and transience, where visual and aural elements transform between levels of perception,” Cichocki says. “Are we looking through the microscope or the telescope? I find these elemental perceptions become indistinguishable at times.”

Cocoon (B.K.F.+H300)

The designers at the Argentinian firm Estudio Normal used their installation to honor the iconic B.K.F. Chair that was initially conceived in Buenos Aires in 1938 by designers Antonio Bonet, Juan Kurchan, and Jorge Ferrari Hardoy. Over time, the origin story of the now ubiquitous sling-back chair has been obscured. “For us, it’s very important because it’s going back to the place where everything happened and the chair became very popular,” says Estudio Normal’s Martin Huberman. “But at the same time, it got copied and the original names behind it vanished, which were two Argentinian architects and one from Catalonia, Spain.” The studio combined 400 reproductions of the B.K.F. chair to create a nine-story white cocoon to be appreciated in 360 degrees.

Mutts

When brainstorming ideas for her art, Romanian architect Oana Stănescu pondered on the unconditional love and support of her dog, Perry. She constructed three dog outlines in primary colored steel, the tallest of which stands 18 feet high. The insides are stuffed full of indigenous greenery in a celebration of nature.

La Guardiana

A 30-foot-tall statue of a woman topped with horns and a club in her hands towered over Coachella as a guardian looking out for the world’s refugee populations. The sculpture, created by LosDos (husband-and-wife Ramon and Christian Cardenas), was based on previous artwork made in collaboration with the band Rage Against the Machine.

“We definitely want to send a message of solidarity for the refugee and migrant communities with what’s happening every day and all around the world due to many different things,” says Ramon Cardenas.

Spectra

“Spectra” by UK-based design studio NEWSUBSTANCE has been in place at the Coachella festival since 2018. By day, the visitors can climb the spiral tower’s seven stories to get a different colored view of the event from every floor. By night, LED lights illuminate the structure, leading guest up to the top for a full bird’s-eye view.

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“We will chase Frida’s world, always in motion,” “Frida: Immersive Dream” animator Massimiliano Siccardi said in a statement. “We will discover her tenderness and hostilities by taking in her observations and fantasies. Our hope is that viewers will let themselves be penetrated by Frida’s stories, and in so doing, live vicariously through her.”

Taking up some 500,000 cubic feet of projections and employing 1.2 million frames of video, the Frida art experience showcases some of the painter’s most famous works, cloning them around all four walls of exhibition space. Also added in are real-life photos of the Mexican surrealist and her influences, like her husband Diego Rivera. Some of the most recognizable pieces highlighted in the visual feast include The Two Fridas (1939), The Wounded Deer (1946), and Self-Portrait on the Borderline Between Mexico and the United States (1932).

As images and colors splash across the walls (all chosen and animated by Siccardi), sitting or standing observers can turn in any direction for a good view of Kahlo’s bold works brought to life against an audio backdrop of musical scores composed by Luca Longobardi.

“Frida Kahlo’s work is uniquely suited to be explored in an immersive environment, and her life story is equally fascinating,” said Svetlana Dvoretsky, co-producer at Lighthouse Immersive, the studio behind the Van Gogh and Kahlo experiences. “Kahlo lived her life as one giant journey of exploration, and her art mirrored that journey. Our goal is to give our viewers more than an examination of her work; we also hope they will leave with a richer understanding of the smart, complex woman who created these timeless masterpieces.”

Born in Mexico in 1907, Kahlo began painting after a terrible bus accident at the age of 18 left her bedridden for many months and with life-long chronic pain. She is best known for her self-portraits (of her 143 paintings, 55 are of herself) strikingly characterized by her signature unibrow. Her other works are dominated by elements from nature and Mexican artifacts. Her style has been termed “magical realism,” with many paintings mixing realistic parts of her outer life with illusory components suggestive of her inner feelings and turmoil. She died at the young age of 47, but her artwork has only become more resonant and popular since her passing. In fact, Kahlo’s Diego and I (1949) sold in November 2021 for $34.9 million, the highest amount ever paid for a Latin American artwork at auction.

The new “Frida: Immersive Dream” exhibit is a response to the success of the original Van Gogh immersive exhibit that “demonstrated that audiences are excited to experience art in a new way,” said Lighthouse Immersive co-producer Corey Ross. “Our Italian creative team are experts at digitally exploring masterworks in such a way that viewers are not merely passive observers. They obtain an even richer understanding of the artist by seeing the work as its creator might have.”

The immersive Frida Kahlo experience is available in Boston, Chicago, Dallas, Denver, Houston, Los Angeles, Pittsburgh, San Francisco, and Toronto with dates starting in February and running through June 2022. Tickets are available for $40 on the exhibition website.

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