PROJECT Tessel
ARTISTS Lab(au) and David Letellier
PRODUCERS MediaRuimte Gallery (Brussels) and Roger Tator Gallery (Lyon)
DURATION 17th December 2010 – 29th June 2011

David Letellier, a french architect and electronic musician has collaborated with Lab(au) to produce this kinetic sound installation. The suspended topography of 40 irregular triangles are arranged in a ‘pinwheel’ tiling pattern, based on the work of mathematicians Charles Radin and John Conway.  The triangular panels are fitted with motors and audio transmitters, creating a sound scape in constant motion. The work draws on a long history of theory exploring the relationships between geometry, movement and chaos.

Tessel will continue to move around galleries and festivals in France and Germany until the end of June 2011.

Image via | Indesignlive

VIA | Indesignlive & Lab(au)


Atsara / [M]ondes / image by David Houncheringer

PROJECT Festival of Trees and Lights (Festival Arbres et Lumières)
LOCATION Geneva, Switzerland
ARTISTS Thierry Metral, Allegory, Geraud Periole, Jérôme Hutin, Alexandre Hurzeler, Tilt, Katharina Hohmann, Anaïde Davoudlarian & Grégory Burnisholz, Ron Haselden, Atsara, Simona Braga, Sara De Gouy, Bufalino Benedetto & Benoît Deseille
DURATION 26 November 2010 – 2 January 2011

Taking advantage of the longer hours of darkness over the Christmas period, Geneva’s Festival of Trees and Lights invites diverse European artists to contribute temporary installations for the city’s streetscapes. The artworks this year varied from the eerie, suspended [M]ondes by Atsara, to the playful Pacman figures by Bufalino Benedetto & Benoît Deseille, installed on a string of existing lights.


Pac’ / Bufalino Benedetto & Benoît Deseille


Thierry Metral / Réminiscence / image by David Houncheringer


Jérôme Hutin / Les Vénérables  / image by David Houncheringer

via Lost at E-Minor

ARTISTS Dan Goods, Nik Hafermaas, and Aaron Koblin
PROJECT eCLOUD
LOCATION San Jose International Airport (Gates 22-23)
PROJECT TEAM Jamie Barlow, International Rigging, David Randall, Daniel Massey
PHOTOGRAPHY Spencer Lowell
YEAR 2010

eCLOUD is a dynamic sculpture inspired by the volume and behavior of an idealized cloud. Made from unique polycarbonate tiles that can fade between transparent and opaque states, its patterns are transformed periodically by real time weather from around the world.

This permanent interior installation fills and activates the central atrium space in San Jose International Airport, bringing an experience of weather patterns from international locations to passengers waiting to fly out. The eCLOUD makes sophisticated and innovative use of architectural materials to create an elegant, constantly evolving artwork, drawing on data captured from the natural world to animate large suspended pixels in three dimensions.

For more information including technical details visit eCLOUDproject.com

PROJECT National Gallery of Australia “New Look” Gallery
ARTIST (Entrance artwork) Dr Thancoupie Gloria Fletcher (Thanakupi)
ARTIST’S COLLABORATOR (Entrance artwork) Jennifer Isaacs AM
MANINGRIDA COMMUNITY REPRESENTATIVE (Fish Trap) George Ganyjbala
CURATOR NGA, Franchesca Cubillo
DESIGN UAP Studio, Jamie Perrow
FABRICATION UAP Workshop
ARCHITECT PTW Architects, Andrew Andersons AO
PROJECT ENGINEER Birzulis Structural Engineers
ARTWORK ENGINEER (Fish Trap) Robert Bird Group
LANDSCAPE ARCHITECT McGregor Coxall
LIGHTING DESIGN Steensen Varming
PHOTOGRAPHY Roger D’Souza

The National Gallery of Australia (NGA) last month unveiled its new Indigenous Galleries and main entrance to the public which features two unique public works.

Visitors to the gallery are greeted by Eran. The 2.7 metre spherical sculpture by renowned Indigenous artist Dr Thancoupie Gloria Fletcher (Thanakupi), and a 12 metre suspended piece interpreted from a Maningrida fish trap. Both were curated by the NGA and fabricated under the artist and collaborators’ direction at UAP’s Brisbane studio and workshop.

At the entry to a wing devoted entirely to Aboriginal and Torres Strait Islander art, the installations recognise the significance of indigenous culture in the context of contemporary architecture.

Ron Radford AM, Director of the National Gallery of Australia, said, “UAP have been fabulous to work with – they are so enthusiastic, professional and quick. The staff of UAP demonstrate a great understanding of materials, they are sensitive to artists’ wishes and have been so co-operative during the whole process.  We have really enjoyed working with them on these two projects.”

Ron Radford continued, saying “Thanakupi is Australia’s most senior female Aboriginal artist working today with a career spanning over forty years. Her beautiful Eran is the largest of her metal sculptures created to date. The Gallery was very pleased to be able to work with such a renowned international artist on the realisation of this project. The inclusion of this stunning spherical sculptural work complements the forms of the new wing and galleries very well. The fish trap is based on a 1950s Maningrida fish trap and UAP have been able to interpret and enlarge the original woven piece into a stunning 12 metre long intricate metal work. The fish trap is a feature work in the atrium and the shadow pattern it produces is almost as beautiful as the work itself.”

The Maningrida fish trap is an important sculptural commission and presents a contemporary interpretation of a traditional woven fish trap from the Maningrida Aboriginal community in Australia’s Northern Territory. Works of art from Maningrida carry a strong reputation and are represented in collections nationally and internationally.

UAP’s design team travelled to the Northern Territory to work with George Ganyjbala, Maningrida elder and skilled fish trap maker and his family. The knowledge shared in this process allowed a respectful translation of Maningrida’s distinctive weaving methods into stylised elements for casting in aluminium. UAP then consulted with PTW Architects and Robert Bird Group Engineers in order to successfully integrate the artefact within the NGA’s new wing under creative direction of Ron Radford AM.

Jamie Perrow, UAP’s lead designer on the project, said, “It was an honour to work with George Ganyjbala and the Maningrida Aboriginal community to create the Maningrida fish trap sculpture. Our intention for this piece is a reverent and symbolic interpretation of a historic and culturally important indigenous artefact. We hope that visitors from all over Australia and overseas will be inspired by the piece.”

The final installation, which measures 12 metres in length, is suspended inside the atrium of the NGA’s new main entrance. The fish trap is the focal point in the visitor’s entry into the gallery and has multiple vantage points from the ground floor and second storey walkway. Not unlike the humble tool of its origin, the fish trap functions to draw visitors in and guide them through the gallery as they become immersed in the wider collection.

In an interview with ABC’s Artworks, Franchesca Cubillo described the effect, “The beautiful thing about fish traps is that there is movement that flows in and out of the fish traps, and it’s a flow of energy. Once materials enter into the fish trap, they come out changed. For us it was a wonderful way in which we could allow our visitors to come into these wonderful new galleries and flow through this beautiful space and go on a journey, but equally to come out different.”

Thanakupi’s sphere, entitled Eran, is truly a stunning sculpture which stands in front of the Gallery’s new entrance and creates a striking entry statement in the forecourt landscape.  The Gallery enjoyed working with the artist and UAP to the creation of this exciting new sculpture.

Eran means river. The work depicts various land-based creative legends through representations of animals in the stories of the tribes along the rivers of Weipa—the Evath eran and N’Gath eran—that is the Mission, Hay and Embley rivers to give their common English names.

The galleries and entrance, designed by Andrew Andersons AO of PTW Architects, were opened on Thursday 30 September in an official ceremony by the Governor General of the Commonwealth of Australia, Her Excellency Ms Quentin Bryce AC.

Shoal | Troika

21 October, 2010


Troika / Shoal, 2010 / 467 individually rotating elements, Dichroic acrylic,  Custom build electronics, stepper motors and controls / Image via Troika

PROJECT Shoal
LOCATION Corus Quay, Toronto, Canada
DESIGN and CONSTRUCTION Troika
CURATORIAL PAM (Karen Mills and Justin Ridgeway)
CLIENT TEDCO
YEAR 2010

Troika’s latest kinetic installation activates the interior ceiling of a 50m corridor in Corus’ new Toronto building. 467 fish-shaped elements are suspended from the ceiling in a constantly moving array that resembles a school of fish. Evocative of the marine life in the nearby lake, the iridescent dichroic acrylic used to coat the elements reflects a spectrum of colours as they rotate.

The installation creates a stunning effect over a large area with simplicity and elegance.

More information and video

via Creative Review | Shoal by Troika


Paul Cocksedge / A Gust of Wind 2010 / Photograph by Mark Cocksedge

PROJECT A Gust of Wind
EXHIBITION London Design Festival
LOCATION Victoria and Albert Museum, London
DESIGNER Paul Cocksedge
DURATION 18:30 – 22:00, 24 September 2010
PHOTOGRAPHY Mark Cocksedge

In a spellbinding temporary installation for the London Design Festival, designer Paul Cocksedge suspended three hundred curvaceous pieces of Corian® in the V&A Museum. The ‘pages’, which were given away during the event, represented a stack of paper blown into the air by a gust of wind. Each of these limited edition pieces was engraved and then handmade by Paul Cocksedge. They function as paper trays, becoming a place for wandering paper to gather.

This installation was made possible through collaboration with the London Design Festival, V&A and DuPont™ Corian®.


Paul Cocksedge / A Gust of Wind 2010 / Photograph by Mark Cocksedge


Paul Cocksedge / A Gust of Wind 2010 / Photograph by Mark Cocksedge