Net-Materials

Junya Ishigami

Daily life, artifacts, minimum uses, are related independently in an environment. What is actually happening is transparent to the view. The building skyline, the apartments, all existing windows, every wall, tell stories. The system of objects provides and generates the scenario for the stories. The container for the action is dissolved - the walls are dissolved.


Garden City. Sourced from Edgar Gonzalez

Paraphrased from Ishigami: The city is a formation of little plots distributed throughout a simulated town, The Generic Town, each with a woodland and hill. The same attention is given to designing the shape and the volume (biomass) of these lots and how they gather together as to designing the buildings. A new way to think about the relation between the buildings and lots and roads and plaza commons.


Satellite Cities. Sourced from Edgar Gonzalez.

Micro-cosmos’ of relations on earth and out-of-space are drawn without a hierarchy of scales. It hybridises nature with daily-life, housing projects, neighbourhoods, cities and furniture. The connections are generated throughout them.

Leah Beeferman

She imagines the internal lives of architecture and buildings, and speaks about architecture with strong personalities and developing and dreamt technologies. The inspiration for her comes from imagining and drawing the universe that a building ‘sees’. The idea that “a building would dream of being something more”.

She focuses in the built-form, the building as a character, and looks to the built pieces one-by-one and thinks of them as isolated beings, not so much as belonging to a system. Satellite buildings about to leave the Earth, as structural spaceships, that travel out of space. Flight Factories, Evaporating Landscapes, Helicopter Archipelagos. Always with the sense that not everything might start and finish on Earth.


Eglin FPS-85 radar. Sourced from Global Security.


“Imagining the Universe as seen by a Building used to track Orbital Debris.”
“Dedicated sensoring/how to hear with clarity” 2008, ink, graphite and medium on paper, 42” x 36” Sourced from Leah Beeferman.

Beeferman is inspired by the Great Idea of the Super-Conducting Super-collider, of building a miracle machine that can replicate the Big Bang, help treat life-threatening illnesses, and maybe even unfold the mysteries of the universe. “Housed in a 54-mile underground tunnel beneath Waxahachie, Texas, the Super-Collider was designed to accelerate beams of subatomic particles to fantastic speeds and then crash the particles into one another, purportedly generating huge amounts of energy. The machine would be able to simulate the conditions present during the Big Bang, thus allowing scientists to gain new insights into the very nature of matter.”


Super-Conducting Super-Collider. Sourced from Neat-o-rama.


“Satellited” 2008, ink on paper, 9” x 12”. Sourced from Leah Beeferman.

Related to the idea of architecture and interiors in films, and how they contribute to the story psychologically, metaphorically, atmospherically, she understands that architecture can begin a character in a story, not just being the container for the story. The buildings are shells that remain always the same, however the character of the buildings change from inhabitant to inhabitant. What the walls have heard throughout time, which stories remain in the Collective Imaginary, what one once cooked inside, the plants that the neighbour forgot at home when he left, each of these give a different personal imprint to the lasting character of the built form.

Beeferman deliberately leaves people out for the focus to be on the structures and the places. Its important that the drawings suggest real space, but never actually become real.