Negative xp art series#
Negative xp art windows#

This created a unique musical experience that morphed as visitors touched the plants. In fact, the vibrations of plants were channelled through the entire space via speakers. This centrepiece was crafted from recycled paper and cereal husks, emphasising the rest of the room’s eco-first decor. The exhibitors were delighted to watch as a young girl wound a hand-crank to generate renewable electricity from their kinetic sculpture of mycelium cogs. The exhibitor reminded Wunderman Thompson Intelligence that ‘it is of great significance to include visions of the youngest members of society’ when imagining future homescapes.Ĭhildren were also welcomed participants in Romania’s sustainable installation. To promote nomadism, ocean and climate sustainability, the habitat will embark on a 3,000km voyage. Co-created by young people from key stage 1-12, Blue Nomad re-imagines and optimises the first Polynesian outrigger. Riding the hydrophilic current, the Denmark and Switzerland pavilion presented near-self-sufficient solar flax fibre homes. What’s more, their biomimicking hydrophilic seeds allow agriculture to flourish when exposed to water the seeds twirl and burrow into the ground, increasing yield. The result is flat-pack material that can be constructed in situ without the external application of energy.

Negative xp art series#

The Creative Difference series by Automorph’s global network of scientists and designers employed biomimicry to emulate nature’s self-morphing structures. ‘Vatra Verde’ – Curated by George Ciprian Mihnea, Cluj-Napoca and University of Art and Design.ĭesigners explored the growing need for sustainable solutions in architecture by exploring connectivity, participation and working holistically with nature. This project, along with the aforementioned exhibits, demonstrate how the turbulence of war can generate new communities and more sustainable methods of production for future challenges.

Negative xp art windows#

This project improves wartime conditions by facilitating the grassroots reconstruction of windows using 95% recycled materials. Before the war, 80% of windows were imported from Russia and Belarus. Poland’s pavilion displayed the fruits of their efforts for Ukraine through Poetics of Necessity. In addition, the structure includes a funnel roof designed to collect and filter rainwater for consumption, solving a basic community need where food and water shortages are deteriorating due to climate change. The multifaceted space that promotes community gathering can be used as a performance venue, classroom, recording studio, and more. The semi-open-air amphitheatre, constructed from low-cost, low-carbon local materials, will be made available to nearly 270,000 African refugees in north Uganda. The audience is invited to navigate the pavilion and learn more about shelters for refugees, as well as contributing personal messages for the Ukrainians.Īnother exhibit aiming to reframe what it means to be a refugee is the Bidi Bidi Music and Arts Centre by Hassell and To.org. The architect collaborated with a poet and a composer to illustrate the experience of everyday Ukrainian life and the materials used to construct the modular pavilion was recently used inside temporary shelters housing Ukrainian refugees. This year the biennale debuted its first humanitarian Paper Sanctuary pavilion by Shigeru Ban. This hints at a shift in mindsets towards evaluating creativity as a human right, particularly in the context of wartime welfare. A series of social innovations highlighted the necessity of the arts during times of crisis.