Designer Matt Shlian, self described as a “paper engineer,” utilizes geometry, origami, and design to formulate and build beautiful 3D paper sculptures. His work combines a love for science and design to open a whole new realm of creating. Working with the US National Science Foundation, Shlian is researching how Japanese origami shapes can be used to benefit nanotechnology. In the past he has worked with clients such as Apple, Levi’s, and Facebook. Finding the harmony within these facets has produced a body of work that is breathtaking and enigmatic.
Shlian describes the process of working with the sciences and the steps they take,
“My team and I work closely together and although we donâ€™t always speak the same language, our work – the transformation of two-dimensional materials into three-dimensional forms – unites us.Â It is typically the case that we are not entirely certain about what it is we are looking for at the outset. On a recent occasion, one of the scientists told me that when we first met it was as though I had this big box of solutions and it was their job to figure out which questions were best solved with my work [three-dimensional origami]. I thought this was both an amiable compliment and a good way to describe the process.”
In many respects, the scientific community explores their mediums with a similar interest and intensity as artists explore theirs. As Shlian says,
“Real scientists are like real artists. They are always asking questions, always curious and always indiscriminate when seeking both solutions and good questions.” (Excerpt from Source)
“I’m just as fucked up as they say, I can’t fake the daytime, found an entrance to escape into the dark”, sang Emily Haines as Metric opened up with the first track, Artificial Nocturne from their newest record Synthetica. I doubt many of her fans would agree with her since the outpouring of love and excitement came as soon as the lights went down and didn’t let up for the whole show. I for one have been a huge fan of Metric’s music since I first saw them open up for fellow Canadians, Stars back in 2003 at the now closed Knitting Factory in Hollywood.
The laser light show over drummer Joules Scott-Key started when they played the title track Synthetica and as soon as the first notes for Dead Disco came on, the crowd jumped into a dance frenzy, not that it wasn’t before. While Emily is an amazing performer (I challenge anyone to do her trademark 80’s aerobic dancing for an hour and half), she has very few words for the crowd, that is until the encore. “I know it’s a cliche… moving out to CA to fulfill your dreams, but I’m so glad we did it… carrying gear when it’s not freezing cold… contrast to Canada… music trumps all the talking in the world.” With just James Shaw on acoustic, the pair ended with Gimme Sympathy which turned into a sing/clap-along as the rest of the band joined them onstage for the last half of the “lullaby”. Check out their new video for Breathing Underwater for a behind the scenes glimpse at what their Synthetica tour was like.
Winter 2010, the stunning landscape of Iceland succumbs to the Arctic cold. Beaches and lakes get frozen, but something unexpected is going to happen… the earth shakes, warms up, and suddenly a big crack opens up at the top of the glacier Eyjafjallajokull. Lava, smoke, ash and fire come up from the depth of the earth, melting everything in its path.
White Winter Hymnal from Grandchildren on Vimeo.Wistful, long-bearded lumberjacks turning the world with an old fashioned crank and a contemplative look in their eyes. I guess its actually one guy in various stages of aging, unless you believe that the self is transitory and you are not the same person you are today that you were yesterday. Heavy. Beautiful stop motion animation by Grandchildren.
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing the work of Elizabeth Moran.
San Francisco-based photographer Elizabeth Moran provides quite an interesting look at space and context in this ongoing series. One can’t help but enjoy the irony captured in the lack of action in these spaces that normally get so much.
The Armory documents the ever-changing sets of the pornography company Kink.com. Private spaces are constructed for a public gaze and appear both familiar and strangely foreign. Devoid of people, the spaces allude to an activity, but leave the viewer to imagine the scene.
Kink.com was founded in 1997 by Peter Acworth while he was pursuing his PhD in finance at Columbia University. Today, Kink.com’s headquarters occupy the San Francisco Armory. Built by the United States National Guard in 1912, the Armory’s Drill Court became San Francisco’s primary sports venue for prizefights from the 1920s through 1940s. After falling into disrepair, the Armory was purchased by Kink.com in 2006 and is now one of the largest adult production studios in the world.—Elizabeth Moran
Really great work by French animator and illustrator Baptiste Alchourroun. The video uses choppy motion and what seems like a loooot of neon/brightly colored paper to create a really cool effect. The music is pretty catchy too and the character in it reminds me of the dude from MSTRKRFT because of his ‘stache (insert ‘stache n shades competition plug). Check out more of Baptiste’s illustration work after the jump & definitely check out his website because it’s all bitmap-y and cute.
Black Rain is sourced from images collected by the twin satellite, solar mission, STEREO. Here we see the HI (Heliospheric Imager) visual data as it tracks interplanetary space for solar wind and CME’s (coronal mass ejections) heading towards Earth. Data courtesy of courtesy of the Heliospheric Imager on the NASA STEREO mission.
Working with STEREO scientists, Semiconductor collected all the HI image data to date, revealing the journey of the satellites from their initial orientation, to their current tracing of the Earth’s orbit around the Sun. Solar wind, CME’s, passing planets and comets orbiting the sun can be seen as background stars and the milky way pass by.
As in Semiconductors previous work ‘Brilliant Noise‘ which looked into the sun, they work with raw scientific satellite data which has not yet been cleaned and processed for public consumption. By embracing the artefacts, calibration and phenomena of the capturing process we are reminded of the presence of the human observer who endeavors to extend our perceptions and knowledge through technological innovation.