When Infinity Comes To Life-Cantoni Crescenti Studio

Rejane Cantoni e Leonardo Crescenti

The two work together in the development of strategies for the experimentation and implementation of audio-tactile-visual interfaces that make it possible for the public to explore and interact naturally with data banks and virtual, remote or hybrid environments.

Rejane Cantoni studied Communication, Semiotics, Visualization of Information Systems and Kinematic Interfaces, in São Paulo and in Geneva; since 1987 she has researched and developed immersive installations with devices for the acquisition and manipulation of data in natural and/or sensorized and automated environments.

Leonardo Crescenti studied archiutecture at FAU/USP, in São Paulo; since 1978 he has investigated and developed projects in various media and supports. As director, he has realized 13 short films receiving numerous awards and national and international participations, including 3 participations in the Director´s Fortnight in the Cannes Film Festival.

Web:http://www.cantoni-crescenti.com.br/

 

INFINITE CUBED | 2007 |

Infinito-ao-Cubo-home

700k of metallic structure (i.e., rolled steel, 12 pipe sleeves, 1 crosspiece, 4 grooved pulleys, 4 rollers, 4 springs, 8 angle irons, cables, screws, bolts and nuts); 99 acrylic mirrored plates (1 meter wide x 1 meter high x 0.002 meter thick);18 mdf plates (1 meter wide x 3 meters high x 0.015 meters thick ); 1 locking system for rotating door.

Imagine a 3 x 3 x 3 mirrored cube suspended 25 centimeters from the floor supported on a crosspiece in the center of a base having four springs, one on each corner. Two of its facets rotate on its central axle. One facet pivots and the other facet balances. This pivoting wall also acts as an entrance door to its interior.

When looking from the outside, the mirror reflects the surrounding area. When looking from the inside, upon closing the door, infinite reflections appear in all directions. The walls do not touch, in other words, the external area is visible through lines that are 3 centimeters thick and 3 meters long. These lines are reflected while maintaining the color, light and the movement of the external area, wherein the multiple reflections generate a kaleidoscope effect.

Imagine being at the center of this cube that, in turn, is being reflected on each of its six walls and throughout all the corner edges and angles.

When positioned in the center, the cube is aligned on its neutral horizontal position of 0º and the reflections are now orthogonal. Walking straight ahead the entire cube inclines up to 3º balancing on the wall in front at an angle relative to the assemblage of up to 3º, distorting the area reflected on the inside, curving it downwards. Walking backwards, the wall is balancing in the opposite direction, and the area curving upwards. Moving to the left, the entire cube inclines up to 3º to the left, pivoting the wall behind it, likewise, in up to 3º and curving the space reflected to the left while, moving to the right causes a symmetrical effect. Walking to one of the corners, the result is a composite of two of these four movements.

3o is an angle that, when multiplied by 30 reflections, causes 90º of the last reflection to disappear.

Depict infinite space using your body mass, and through your movement inside the cube. Construct curves upward or downward, to the left or to the right softly tilting the assemblage, pivoting two of its walls using a precise system of counter-weight, grooved pulleys and steel cables. The reflected architecture sliding subtlely on the external facets make the cube almost invisible, mimicking the surroundings. The sensation of a closed space exploding to the infinite invokes thoughts of dimmensionality. Understanding the infinite is possible. Infinite cubed is merely mathematically impossible.

 

FLOOR | 2007 |

piso_HOME

 

Stainless steel plate, electronic sensor system, mechanical wave simulator and aluminum contours.

FLOOR is an interactive interface designed to transfer data of strength and movement in the human-human relation and the human-space time relation.

The mode of agencying the FlOOR interface is very simple: you step on one of the two ends of the machine and this action produces a displacement of haptic information, that is, a wave is displaced in the direction equivalent to the action.

For the other users (not interactors), it is worth noting that the wave in movement lifts the steel plate and the assemblage lifts who or what is on it.  This quality of the device principally generates two types of sensory input: (1) haptic information produced by the wave passing through the body; (2) visual information produced by projecting the deformation of the FLOOR as the wave passes through.

 

SOLAR | 2009 |

solar_HOME

Wooden base (1m diameter x 0.30m high), 02 metal dials, pins, springs, pressure sensors, structure of panoramic projection (04 data projectors), PC, metal cross, a pair of two semi-loops (one is 3m de high x 0.30m wide x 0.005m thick and the other is 2.90m high x 0.30m wide x 0.005m thick), a light bulb, a dimmer, two engines, gears, cog rails and an cables.

Imagine entering a machine, supplying the co-ordinates of a city and a specific moment in time and as a response you receive the direction, the intensity and the sensation of heat and light that the sun radiated in that time-space.

Solar is a robotic installation, immersive and interactive, designed to simulate qualities and measures of solar light in relation to man-space time.

 

 

 

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

w

Connecting to %s