New York artist Kurt Perschke’s RedBall art project,

should be visiting London South Bank in the summer!- wonder where it will squash itself!

“Through the RedBall Project I utilize my opportunity as an artist to be a catalyst for new encounters within the everyday. Through the magnetic, playful, and charismatic nature of the RedBall the work is able to access the imagination embedded in all of us. On the surface, the experience seems to be about the ball itself as an object, but the true power of the project is what it can create for those who experience it. It opens a doorway to imagine what if? As RedBall travels around the world people approach me on the street with excited suggestions about where to put it in their city. In that moment the person is not a spectator but a participant in the act of imagination. I have witnessed it across continents, diverse age spans, cultures, and languages, always issuing an invitation. That invitation to engage, to collectively imagine, is the true essence of the RedBall Project. The larger arc of the project is how each city responds to that invitation and, over time, what the developing story reveals about our individual and cultural imagination.”

- Kurt Perschke


http://redballproject.com/

2 months ago  2 notes

Simon Heijdens Shade, 2011 Commissioned by and part of the permanent collection of The Art Institute of Chicago  “A responsive skin to the windows of a building that filters daylight into a moving projection of shadows, that translates the ever-changing natural timeline of the outdoor to the static and perpetual indoor space.Shade is a new material that applies as a glass window surface. Through variably blocking or passing light, it forms sunlight into a spacial, graphic projected moving image of shadows. It’s surface holds a grid of triangular cells that are each individually able to change their level of opacity, and hence block or pass light. The graphic shadows projected on the floor, walls and ceiling of the space - varying from sharp and graphic, to environing and spacial depending on the time of day - reveal the geometrical patterns of wind that pass the building on the other side of the glass, as choreographed by the measurements of an outdoor sensor.As both the angle of the sun and the patterns of wind are continuously changing throughout the day and year, the perpetual character of the artificial space is reconnected with an evolving, unplanned natural timeline.”

Simon Heijdens

Shade, 2011

Commissioned by and part of the permanent collection of The Art Institute of Chicago 


“A responsive skin to the windows of a building that filters daylight into a moving projection of shadows, that translates the ever-changing natural timeline of the outdoor to the static and perpetual indoor space.

Shade is a new material that applies as a glass window surface. Through variably blocking or passing light, it forms sunlight into a spacial, graphic projected moving image of shadows. It’s surface holds a grid of triangular cells that are each individually able to change their level of opacity, and hence block or pass light. The graphic shadows projected on the floor, walls and ceiling of the space - varying from sharp and graphic, to environing and spacial depending on the time of day - reveal the geometrical patterns of wind that pass the building on the other side of the glass, as choreographed by the measurements of an outdoor sensor.

As both the angle of the sun and the patterns of wind are continuously changing throughout the day and year, the perpetual character of the artificial space is reconnected with an evolving, unplanned natural timeline.”

2 months ago  2 notes View high resolution

New Wear Crossing New project by architect Stephen Spence and Technika will cross the river Wear in Sunderland. Construction begins in October 2012 with an estimated cost of around £82.5m. Once completed, the western mast will be approx 190m and will be the tallest bridge in England. Should be finished in 2015. This structural form is simply stunning; the masts jutting out of the water remind me of a crab’s claw grasping at the road above and twisting its cables. Projects like these are rare- and not surprisingly with such a massive expense. If the Gateshead Millenium Bridge (Wilkinson Eyre Architects) is anything to go by; this project will certainly get Sunderland into the limelight and earn it some visitor revenue, did they commission this project to push the limits of adventurous design? doubtless, it’s massive scale will explode across the newspapers and give the illusion to that extent. It’s height will be seen from miles around, although I wonder whether it can sit in it’s environment without seeming loud and abrasive. Perhaps this was intended.  Regardless, for sheer wow factor as a piece of design I may be willing to overlook this and just appreciate it’s natural elegant curvature.

New Wear Crossing

New project by architect Stephen Spence and Technika will cross the river Wear in Sunderland. Construction begins in October 2012 with an estimated cost of around £82.5m. Once completed, the western mast will be approx 190m and will be the tallest bridge in England. Should be finished in 2015.

This structural form is simply stunning; the masts jutting out of the water remind me of a crab’s claw grasping at the road above and twisting its cables. Projects like these are rare- and not surprisingly with such a massive expense. If the Gateshead Millenium Bridge (Wilkinson Eyre Architects) is anything to go by; this project will certainly get Sunderland into the limelight and earn it some visitor revenue, did they commission this project to push the limits of adventurous design? doubtless, it’s massive scale will explode across the newspapers and give the illusion to that extent. It’s height will be seen from miles around, although I wonder whether it can sit in it’s environment without seeming loud and abrasive. Perhaps this was intended.  Regardless, for sheer wow factor as a piece of design I may be willing to overlook this and just appreciate it’s natural elegant curvature.

3 months ago  2 notes View high resolution

New York artist Kurt Perschke’s RedBall art project,

should be visiting London South Bank in the summer!- wonder where it will squash itself!

“Through the RedBall Project I utilize my opportunity as an artist to be a catalyst for new encounters within the everyday. Through the magnetic, playful, and charismatic nature of the RedBall the work is able to access the imagination embedded in all of us. On the surface, the experience seems to be about the ball itself as an object, but the true power of the project is what it can create for those who experience it. It opens a doorway to imagine what if? As RedBall travels around the world people approach me on the street with excited suggestions about where to put it in their city. In that moment the person is not a spectator but a participant in the act of imagination. I have witnessed it across continents, diverse age spans, cultures, and languages, always issuing an invitation. That invitation to engage, to collectively imagine, is the true essence of the RedBall Project. The larger arc of the project is how each city responds to that invitation and, over time, what the developing story reveals about our individual and cultural imagination.”

- Kurt Perschke


http://redballproject.com/

Simon Heijdens Shade, 2011 Commissioned by and part of the permanent collection of The Art Institute of Chicago  “A responsive skin to the windows of a building that filters daylight into a moving projection of shadows, that translates the ever-changing natural timeline of the outdoor to the static and perpetual indoor space.Shade is a new material that applies as a glass window surface. Through variably blocking or passing light, it forms sunlight into a spacial, graphic projected moving image of shadows. It’s surface holds a grid of triangular cells that are each individually able to change their level of opacity, and hence block or pass light. The graphic shadows projected on the floor, walls and ceiling of the space - varying from sharp and graphic, to environing and spacial depending on the time of day - reveal the geometrical patterns of wind that pass the building on the other side of the glass, as choreographed by the measurements of an outdoor sensor.As both the angle of the sun and the patterns of wind are continuously changing throughout the day and year, the perpetual character of the artificial space is reconnected with an evolving, unplanned natural timeline.”

Simon Heijdens

Shade, 2011

Commissioned by and part of the permanent collection of The Art Institute of Chicago 


“A responsive skin to the windows of a building that filters daylight into a moving projection of shadows, that translates the ever-changing natural timeline of the outdoor to the static and perpetual indoor space.

Shade is a new material that applies as a glass window surface. Through variably blocking or passing light, it forms sunlight into a spacial, graphic projected moving image of shadows. It’s surface holds a grid of triangular cells that are each individually able to change their level of opacity, and hence block or pass light. The graphic shadows projected on the floor, walls and ceiling of the space - varying from sharp and graphic, to environing and spacial depending on the time of day - reveal the geometrical patterns of wind that pass the building on the other side of the glass, as choreographed by the measurements of an outdoor sensor.

As both the angle of the sun and the patterns of wind are continuously changing throughout the day and year, the perpetual character of the artificial space is reconnected with an evolving, unplanned natural timeline.”

New Wear Crossing New project by architect Stephen Spence and Technika will cross the river Wear in Sunderland. Construction begins in October 2012 with an estimated cost of around £82.5m. Once completed, the western mast will be approx 190m and will be the tallest bridge in England. Should be finished in 2015. This structural form is simply stunning; the masts jutting out of the water remind me of a crab’s claw grasping at the road above and twisting its cables. Projects like these are rare- and not surprisingly with such a massive expense. If the Gateshead Millenium Bridge (Wilkinson Eyre Architects) is anything to go by; this project will certainly get Sunderland into the limelight and earn it some visitor revenue, did they commission this project to push the limits of adventurous design? doubtless, it’s massive scale will explode across the newspapers and give the illusion to that extent. It’s height will be seen from miles around, although I wonder whether it can sit in it’s environment without seeming loud and abrasive. Perhaps this was intended.  Regardless, for sheer wow factor as a piece of design I may be willing to overlook this and just appreciate it’s natural elegant curvature.

New Wear Crossing

New project by architect Stephen Spence and Technika will cross the river Wear in Sunderland. Construction begins in October 2012 with an estimated cost of around £82.5m. Once completed, the western mast will be approx 190m and will be the tallest bridge in England. Should be finished in 2015.

This structural form is simply stunning; the masts jutting out of the water remind me of a crab’s claw grasping at the road above and twisting its cables. Projects like these are rare- and not surprisingly with such a massive expense. If the Gateshead Millenium Bridge (Wilkinson Eyre Architects) is anything to go by; this project will certainly get Sunderland into the limelight and earn it some visitor revenue, did they commission this project to push the limits of adventurous design? doubtless, it’s massive scale will explode across the newspapers and give the illusion to that extent. It’s height will be seen from miles around, although I wonder whether it can sit in it’s environment without seeming loud and abrasive. Perhaps this was intended.  Regardless, for sheer wow factor as a piece of design I may be willing to overlook this and just appreciate it’s natural elegant curvature.

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