In the Cour Jardin of the Hôtel Plaza Athénée, Paris, France, Univers Uchronia has unveiled Daybed, a large-scale installation that reinterprets the hotel’s garden through materiality, color, and form. The temporary work, on view until 11th November, 2025, functions as both sculptural object and inhabitable space, establishing a dialogue between contemporary design and the historic setting of the Plaza Athénée.

At the center of the project is a ceramic surface designed in collaboration with Dutch brand Palet. The installation is clad in Palet’s glazed tiles, whose dimensions (149 x 149 mm) and color flexibility formed the basis for Uchronia’s architectural composition. The palette, dominated by greens and reds, references the hotel’s signature tones, including the red geraniums that line the Cour Jardin. Produced in the Netherlands, each tile is glazed to order from Palet’s library of more than 100 colors, which can be combined into over 300,000 possible variations. The reflective surface changes character under different light conditions, giving the installation a shifting visual presence throughout the day.

all images by Felix Dol Maillot

Uchronia’s Daybed Combines Ceramics, Textiles, and Furnishings

The ceramic assembly by creative studio Univers Uchronia is complemented by additional crafted elements: a custom-designed headboard by Treca, bed linens by Le Jacquard Français, floral curtains and cushions by Misia, and painted finishes by Seigneurie. Together, these components extend the project beyond surface design, integrating textiles and furnishings into a cohesive environment.

Palet, founded in 2021 by Jaap Giesen, Gilles de Brock, and Niels Monsieurs, operates at the intersection of digital design and ceramic craftsmanship. Its platform allows designers and clients to configure bespoke color and pattern combinations at varying scales, bridging industrial repeatability with artisanal variation. The collaboration with Univers Uchronia continues a partnership that has evolved from small-scale interiors to more ambitious site-specific installations. Daybed at the Plaza Athénée exemplifies this ongoing exchange, presenting ceramic tile as both material and medium for architectural experimentation within a public-facing context.

Daybed installation in the Cour Jardin of Hôtel Plaza Athénée, Paris

Univers Uchronia reinterprets the garden through form, colour, and material

the installation functions as both sculpture and inhabitable space

textiles, floral curtains, and cushions enhance the composition

Palet’s glazed ceramic tiles form the surface of the installation

greens and reds echo the hotel’s iconic geraniums and palette

the reflective ceramic surface shifts character with changing light

Uchronia and Palet’s collaboration extends from interiors to large-scale work

Daybed explores ceramic tile as both material and medium of architecture

project info:

name: Daybed
designer: Uchronia | @uchronia_world

location: Hôtel Plaza Athénée, Paris, France

photographer: Felix Dol Maillot | @felixdolmaillot

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Through January 11, 2026, the Contemporary Austin hosts the first solo museum exhibition in Texas of sculptor Raul De Lara, an artist known for his highly technical approach to woodworking. De Lara transforms everyday tools, plants, and furniture into anthropomorphic and surreal forms. These works act as vessels of memory, resilience, and humor, but also as pointed reflections on the immigrant experience, queer identity, and the liminal space of DACA status, the temporary US policy that offers young undocumented immigrants protection from deportation and the ability to work legally, though without a path to permanent residency or citizenship.

De Lara’s background roots him in both Mexican and American traditions of making. Trained in Austin and later at Virginia Commonwealth University, he honors traditional woodworking while experimenting with scale, humor, and magical realism. His sculptures range from saints conjured out of branches to furniture reimagined with uncanny detail. ‘Growing up, I would see craftsmen carve these saints out of branches,’ he recalls. ‘I always wonder, like, at what point does the branch become a saint?’ he wonders. That threshold between the ordinary and the sacred, the native and the foreign, and the tool and the symbol is where his work finds its resonance.

Cavale II, 2023 | all images courtesy of Raul De Lara, unless stated otherwise

seven new works on view at the Contemporary Austin exhibition

For the show in Austin, his hometown after immigrating to the US at age twelve, De Lara completes seven new sculptures shaped from mesquite, walnut, cedar, and oak. The pieces reference wildflowers native to both Texas and northern Mexico, such as Damianita, Indian Blanket, and Sleepy Daisy. Their dual botanical origins parallel the artist’s own exploration of cultural hybridity and contested belonging. ‘Why can plants be native to two places, but never people?’ he asks. By embedding this question into wood and form, the New York-based artist turns sculpture into a stage for negotiating identity and precarity.

the sculpture was made for Hermés new Aspen Boutique’s window display

When Woodworking Meets Belonging and Legal Uncertainty

Raul De Lara insists that the act of sharing is central to his practice. ‘Some of the best works are the ones that, when you share yourself, you really get beyond just the object,’ he says. ‘When you can connect with people in that way—thinking that our work can make people feel a sense of care, or want to care—that’s enough.’ In Austin, the newly commissioned sculptures invite audiences to engage with beauty while confronting difficult questions of who gets to belong, how stories are carved into materials, and why plants are allowed a dual nativity denied to people.

The artist himself describes the project as the most complex of his career. ‘Honestly, this show… they’re the most layered, and they have the capacity to fail. Pulling one off is a miracle, and I have, like, six miracles to do,’ he shares. This balance of rigor and risk reflects the precariousness of his legal and social position under DACA. ‘My legal standing here—if the law changed tomorrow, that would be a different exhibition. It’s a reality… I could not even make my own show.’ In these remarks, the material and the political fuse, as woodworking becomes both a technical dance with fire and a metaphor for living in limbo.

these works act as vessels of memory, resilience, and humor

Tornado, 2020

Installation view, HOST: Raul De Lara, The Contemporary Austin – Jones Center on Congress Avenue, Austin, Texas, 2025. Artwork © Raul De Lara | image by Alex Boeschenstein, courtesy of The Contemporary Austin

For Being Left-Handed, 2020

Como Las De Mi Tierra / Like The One’s Back Home, 2024

Hermés Window Installation in Aspen, Colorado, 2023

Soft Chair (M1), 2023

The Wait (Again), 2022

Pending Flowers, 2024

La Monstera, 2023

installation view, HOST: Raul De Lara, The Contemporary Austin – Jones Center on Congress Avenue, Austin, Texas, 2025. Artwork © Raul De Lara | image by Alex Boeschenstein, courtesy of The Contemporary Austin

installation view, HOST: Raul De Lara, The Contemporary Austin – Jones Center on Congress Avenue, Austin, Texas, 2025. Artwork © Raul De Lara | image by Alex Boeschenstein, courtesy of The Contemporary Austin

project info:

artist: Raul De Lara | @rauldelaraa

exhibition: HOST: Raul De Lara

location: The Contemporary Austin | @contemporaryatx – Jones Center, HOST gallery, 700 Congress Avenue, Austin, Texas 

dates: September 12th, 2025 – January 11th, 2026

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Turin-based engineering firm Leva has developed a large-scale kinetic face installation for L’Épée du Roi Arthur, one of the performances at France’s Puy du Fou historical theme park. The permanent outdoor structure takes the form of a moving face, integrated into a tower, which animates during the show to represent the sorceress Morgane.

The installation combines mechanical precision with theatrical staging. Measuring 12 sqm, the sculpture is composed of 206 custom-designed modules, each driven by a linear actuator with a 70-cm travel range. These elements work together to create a continuously moving surface capable of fluid, lifelike expression while remaining durable under outdoor performance conditions.

all images courtesy of Leva

kinetic face demonstrates the role of motion in stage design

At the core of the project is Leva’s proprietary motion control system, which synchronizes the movements of every actuator. This allows the face to perform nuanced gestures and shifts that integrate into the show’s narrative. The design team optimized the arrangement of modules to maximize visual resolution, ensuring the sculpture’s geometry remains clear and legible from audience viewing distances.

The material and structural strategies emphasize both efficiency and long-term operability. Maintenance requirements were considered during the design phase, with modular construction simplifying future adjustments. The result is a dynamic wall sculpture that merges engineering with performance design, enhancing the immersive qualities of the Arthurian story. Leva’s kinetic face installation at Puy du Fou extends the company’s portfolio of large-scale kinetic works. Previous projects include the world’s largest kinetic wall for Aramco’s VIP innovation center and an interactive tunnel inspired by desert dunes in Diriyah, Saudi Arabia.

Leva designs a kinetic face for Puy du Fou’s L’Épée du Roi Arthur

the moving sculpture represents the sorceress Morgane on stage

a 12-square-meter surface animates within a stone tower

the installation merges engineering precision with live performance

206 custom modules form the expressive moving face

together, the modules create lifelike and fluid motion

optimized module layout ensures visual resolution and clarity

the kinetic face integrates into the show’s narrative

the dynamic sculpture enhances immersion in the Arthurian story

project info:

name: Kinetic Face
designer-engineer: Leva | @leva.io

location: Puy Du Fou, Les Epesses, France

client: Puy Du Fou

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Maurizio Cattelan, contemporary art’s notorious provocateur, is taking his wit from the gallery into the streets with Where is Maurizio?, a treasure hunt across New York, Amsterdam, and London. To mark the release of We are the Revolution, his latest limited-edition self-portrait sculpture, sculptures will be placed in unexpected, everyday locations, from market stalls to bodegas and antique shops, waiting to be found by the quickest and most dedicated seekers. The hunt begins in New York City on September 30th, 2025, when the first clue will be revealed on Avant Arte’s dedicated microsite.

The work plays directly into Cattelan’s long-standing fascination with value, context, and power structures in the art world. Most famously crystallized in Comedian (2019) (found designboom’s previous coverage here), the banana duct-taped to a wall that sold for $6.2 million, his practice probes how meaning and price are constructed. Here, that inquiry continues with a playful twist: each hidden edition will be priced according to its setting, ranging from $0.99 at a corner shop to €9,999 in an antiques dealership. Alongside the physical scavenger hunt in New York, digital-only versions will run in Amsterdam and London, with participants solving clues and submitting answers online.

images courtesy of Avant Arte

Cities become Stages with ‘We Are the Revolution’ treasure hunt

The game spans three cities and three sculptures, with each discovery crowning a single winner. Cattelan turns what’s usually a private collecting ritual into a shared citywide adventure. The search turns cities into temporary stages, where passersby might stumble across an artwork that in other contexts requires years of waiting lists and high-stakes bidding.

The object at the heart of this chase is We are the Revolution, a resin, hand-painted miniature that revisits one of the Italian artist’s most iconic gestures. Standing just 23 centimeters tall, the figure reprises his 2000 work Untitled. The work is the latest of Maurizio Cattelan’s revered miniatures, perhaps the most famous of which, La Rivoluzione Siamo Noi (2000), nods to German artist Joseph Beuys and his canonical felt suit. Cattelan’s motto, ‘I am not really an artist,’ flips Beuys’ famous claim that ‘every man is an artist.’

Alongside the three hidden sculptures, the edition is available more conventionally through a run of 1,000 pieces, each hand-painted, individually numbered, and accompanied by a signed certificate of authenticity. While the treasure hunt versions will reward speed and luck, the wider edition is accessible via a draw system closing on October 24th, 2025.

We are the Revolution is a resin, hand-painted miniature

the edition is available through a run of 1,000 pieces

standing just 23 centimeters tall, the figure reprises his 2000 work Untitled

the work, mounted on a single nail, continues the artist’s long-running series of self-portrait miniatures

the edition is accessible via a draw system closing on October 24th, 2025

project info:

name: Where is Maurizio? | We are the Revolution

artist: Maurizio Cattelan | @mauriziocattelan

dimensions: 23 × 6 × 6 cm

edition size: 1,000

organized by: Avant Arte | @avant.arte

release date: October 24th 2025

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The project fernsehen establishes a dialogue between two landscapes with parallel histories of extraction and renewal: Mount Rokko in Japan and Berlin, Germany. Each site hosts an identical concrete structure, creating a paired installation that connects the two through live and recorded video transmission.

Mount Rokko was extensively quarried for granite during the Edo period, resulting in large-scale deforestation and environmental decline. During the Meiji era, deliberate reforestation efforts gradually restored the terrain. Today, the mountain carries the layered traces of both damage and recovery. Berlin, the artists’ base, reflects a similar cycle of destruction and regeneration through its urban history. fernsehen, conceived by Riku Ikegaya + Kohei Hayashi + Yu Kamijo, situates itself within these contexts by installing twin cube-like sculptures in Rokko and Berlin. Each structure is punctuated by narrow tubular openings, recalling the form of telescopes. Within them, video devices project the view from the paired site: the Rokko installation displays Berlin’s urban activity, while the Berlin installation transmits images of Rokko’s natural environment.

all images courtesy of Riku Ikegaya + Kohei Hayashi + Yu Kamijo

fernsehen operates as both a perceptual device and a monument

The recordings capture contrasting yet parallel realities. In Berlin, viewers see the passing of people, vehicles, and city rhythms. In Rokko, the images reveal vegetation, shifting weather, and animal movement. Together, these perspectives connect distant environments, framing the coexistence of natural and urban conditions.

The work by creatives Riku Ikegaya + Kohei Hayashi + Yu Kamijo, highlights the act of ‘seeing far’ not only as a spatial connection but also as a reflection on shared futures shaped by climate change, urbanization, and environmental pressures. Through this mediated exchange, fernsehen positions itself as both an apparatus for extending perception and a monument questioning the role of vision in shaping responsibility and possibility. The title references the German word for television, fernsehen, literally ‘to see far.’ Its etymology underscores the duality of distance and mediation, framing the installation as an exploration of how perception, technology, and context influence the way landscapes are understood across time and place.

fernsehen links Mount Rokko in Japan with Berlin, Germany

twin concrete cubes form the paired installation

each site hosts an identical sculpture pierced with narrow openings

the structures recall telescopes aimed at distant views

video devices project live and recorded images from the paired site

the installation situates itself within the parallel narratives of Rokko and Berlin

contrasting perspectives reveal shared realities across distance

the work examines how vision bridges space and time

the project operates as both a perceptual device and a monument

‘seeing far’ becomes a reflection on collective futures

Berlin audiences observe Rokko’s shifting natural environment

Rokko viewers watch Berlin’s urban activity unfold in real time

the installation engages themes of climate and urban change

project info:

name: fernsehen
designers: Riku Ikegaya + Kohei Hayashi + Yu Kamijo

materials: wood, plaster materials, brass pipes, video devices

dimensions: 2m (W) × 2m (D) × 2m (H)

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Until October 5th, 2025, the Mies van der Rohe Pavilion in Barcelona becomes the stage for Lost Limits, an artistic intervention by artists Anne Glassner and Marit Wolters that brings together sculpture, performance, and architecture to question where private life ends and public presence begins.

Wolters’ concrete sculptures are cast using water drawn from the Pavilion’s pond, and, installed within the same pool, they mirror the surrounding travertine surfaces. Their placement within this setting highlights how materiality transforms when situated in a space tied to modern architecture’s ideals of precision, purity, and timelessness.

images by Anna Mas, unless stated otherwise

Anne Glassner and Marit Wolters perform everyday gestures

Austrian visual artist and performer Anne Glassner’s performance unfolds in parallel. On September 18th, 2025, she and German sculptor Marit Wolters wear camouflage clothing that blends them into the Pavilion’s geometry while enacting everyday gestures, like sitting, drinking, eating, lying down, and looking. These mundane acts, displaced from their domestic sphere into a public architectural icon, make the familiar become estranged. Visitors participate as well, with their movements interrupting or redirecting the performers.

The artists propose that architecture is a stage for lived experience and suggest that limits between inside and outside, object and subject, and visible and hidden are flexible rather than fixed.

Lost Limits also extends Glassner and Wolters’ ongoing collaboration, which began with interventions at Czechia’s Villa Tugendhat in 2021 and 2022, another of Mies van der Rohe and Lilly Reich’s seminal works. 

the Mies van der Rohe Pavilion in Barcelona becomes the stage for Lost Limits | image by Christian Prinz

an artistic intervention by Anne Glassner and Marit Wolters

bringing together sculpture, performance, and architecture

mirroring the surrounding travertine surfaces | image by Christian Prinz

Wolters’ concrete sculptures are cast using water drawn from the Pavilion’s pond

a space tied to modern architecture’s ideals of precision, purity, and timelessness

the artists propose that architecture is a stage for lived experience

limits between inside and outside, object and subject, and visible and hidden are flexible rather than fixed

floating flora surrounds the sculptures

Lost Limits extends Glassner and Wolters’ ongoing collaboration

the installation runs until October 5th, 2025

exploring where private life ends and public presence begins

this collaboration started in Mies van der Rohe’s Villa Tugendhat

Anne Glassner and Marit Wolters  interacting with the sculptural installation | image by Christian Prinz

project info:

name: Lost Limits

artists: Anne Glassner | @anneglassner, Marit Wolters | @marit_wolters

location: Fundació Mies van der Rohe | @fundaciomies, Barcelona, Spain

dates: September 18th – October 5th, 2025

photographers: Anna Mas, Christian Prinz

partners: Phileas – The Austrian Office for Contemporary Art | @phileas.art, Bildrecht, Austrian Federal Ministry for Housing, Arts, Culture, Media and Sport, Austrian Cultural Forum in Madrid, Hangar – Centre for Artistic Production and Research 

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Iranzo’s project Permanent Souls examines how discarded materials can be transformed into functional sculptures that exist between visibility and absence. The work uses polypropylene nets, originally sourced from sports and construction contexts, and combines them with epoxy resin to create lightweight, permeable structures.

The design process emphasizes handcraft and material specificity. Each piece is produced through an artisanal method that preserves the distinct qualities of the nets while stabilizing them in new forms. The resulting works retain traces of their previous use but are reconfigured into objects, such as chairs and tables, that are both utilitarian and open to interpretation.

all images courtesy of Iranzo

Iranzo’s sculptures transform everyday industrial remnants

Formally, the sculptures suggest functionality without prescribing it. Their lightness, transparency, and suspended geometries allow for multiple readings, whether as objects to be engaged with physically or as structures that simply frame space and perception.

Through this process, artist Iranzo’s project considers the persistence of material beyond its initial purpose. Permanent Souls highlights the transformation of everyday industrial remnants into sculptural forms that carry both structural and conceptual weight, positioning them at the threshold between memory, use, and abstraction.

Permanent Souls by Iranzo explores material transformation

discarded polypropylene nets become sculptural forms

epoxy resin stabilizes the nets into permeable structures

lightweight and transparent, the pieces blur form and function

everyday remnants are reconfigured into chairs and tables

traces of previous use remain visible in the finished works

the sculptures suggest utility without enforcing it

functionality merges with abstraction in the design

transparency and lightness define the structures’ visual presence

nets sourced from sports and construction contexts find new life

industrial waste is reframed as structural and conceptual form

project info:

name: Permanent Souls
designer: Iranzo | @and.iranzo

design team: Héctor Montes | @veladostudio

materials: epoxy resin & polypropylene

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On September 21st, 2025, Philadelphia will see the opening of Calder Gardens, a new park and museum shaped by Herzog & de Meuron and Piet Oudolf. Rather than presenting a monumental museum, the project frames Alexander Calder’s work within a lush, layered landscape that gradually reveals its structure and galleries as visitors move inward from the city. The project occupies a city rich with the Calder family’s history. Alexander Calder’s grandfather and father both left their mark on Philadelphia, and works by all three generations line the Parkway.

From the Parkway, a long tapered metal wall forms an austere backdrop to the meadowed garden, softening the sound of nearby traffic and leading to a wood-lined entry beneath a folded metal canopy. The architecture remains deliberately understated. A circular disc at the center creates a plaza and conceals the main galleries below ground, while two sunken gardens — one perfectly round, the other irregular — bring daylight into the galleries and offer distinct settings for Calder’s sculpture.

Today, September 15th, designboom visited Calder Gardens ahead of its public opening to experience Piet Oudolf’s meadows in dialogue with Herzog & de Meuron’s architecture in-person — stay tuned for updates!

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

subdued architecture by herzog & de meuron

Inside, visitors to Philadelphia’s Calder Gardens descend from a modest lobby to a series of Herzog & de Meuron-designed galleries that vary in light and proportion. The ‘Highway Gallery’ offers a view of Calder mobiles from a mezzanine, while the ‘Open Plan Gallery,’ set beneath the central disc, receives natural light and frames views of the Vestige Garden. Smaller spaces such as the Apse and Curve galleries provide intimate settings for works on paper and light-sensitive sculptures. The architects plan each room to encourage a slow, careful encounter with Calder’s art.

Jason Frantzen, senior partner at Herzog & de Meuron, describes the project as ‘both an actual and a conceptual garden,’ designed in close collaboration with the Calder Foundation and the Barnes Foundation to honor Calder’s legacy while creating ‘a space for all Philadelphians and visitors alike to discover Calder’s work again and again.’

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

lush landscape design by piet oudolf

Piet Oudolf’s 1.8-acre landscape surrounds and threads through the architecture throughout Calder Gardens, transforming a once-overlooked site in Philadelphia into a shifting, four-season meadow. More than 250 plant varieties — grasses, perennials, and woodland species — form a living composition that changes with weather and time. Paths curve through woodlands, perennial meadows, and tall borders, drawing visitors toward the central disc and framing new views at every step.

From the West Woodland Garden’s young oaks to the late-summer prairie grasses that sway near the building’s edge, the landscape designer’s planting encourages a pace that’s slow and contemplative. The sunken Vestige and Sunken gardens, visible from the main galleries, are a living hybrid of art and landscape. As Oudolf notes, ‘Gardens are for everyone.’

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

Calder Gardens, 2025. Photo by Iwan Baan. Artwork by Alexander Calder © 2025 Calder Foundation, New York / Artists Rights Society (ARS), New York

project info:

name: Calder Gardens | @caldergardens

architect: Herzog & de Meuron | @herzogdemeuron

landscape designer: Piet Oudolf | @pietoudolf

location: Philadelphia, Pennsylvania

client: Calder Foundation| @calderfoundation

opening: September 21st, 2025

previous coverage: September 2022, January 2025

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HoloSculpture is an interactive artwork developed by Turbulence Lab and Hamza Kırbaş that integrates artificial intelligence, anamorphic display technology, and sound within a single physical object. Conceived as both a sculptural form and a digital interface, the project explores how AI can be embodied in a tangible medium.

The piece incorporates a 4D anamorphic display, which generates a sense of depth and spatial presence, and a studio-grade sound system that enhances audiovisual interaction. Activated by voice, HoloSculpture engages in dialogue, uses gesture-like movements, and presents shifting visual compositions, creating a dynamic relationship between user and object.

all images courtesy of Hamza Kırbaş and Turbulence Lab

HoloSculpture functions as both sculpture and digital interface

Each unit is produced as a signed and numbered edition and includes three distinct AI ‘characters,’ programmed with unique modes of response and expression. In addition, owners receive three certified digital artworks associated with the sculpture. Through this combination, the project by Turbulence Lab and designer Hamza Kırbaş operates simultaneously as a functional device and a collectible artwork, positioning itself at the intersection of design, technology, and contemporary art. Find out more about HoloSculpture on kickstarter.

the work functions as both sculpture and digital interface

a 4D anamorphic display creates depth and spatial presence

studio-grade sound enhances the audiovisual experience

shifting visuals create a dynamic interaction with the viewer

a collectible artwork that doubles as a functional device

three distinct AI ‘characters’ are embedded in each piece

HoloSculpture exists at the intersection of object and interface

the design merges physical object with digital content

a personal interaction between human and living artwork

an exploration of how AI can take on sculptural form

voice activation allows the piece to respond to users

crafting HoloSculpture

fine-tuning and assembly

project info:

name: HoloSculpture – The Embodiment of Artificial Intelligence
designer: Turbulence Lab | @turbulencelab
lead designer: Hamza Kırbaş | @hamza__kirbas

learn more about ‘HoloSculpture’ on its kickstarter crowdfunding page.

The post AI, art, and sound converge in holosculpture interactive artwork appeared first on designboom | architecture & design magazine.

Inside the main hall of a former turbine factory in Hungary, Spanish artist SpY has introduced MATRIZ, a large-scale installation composed of a three-dimensional grid of suspended black rectangular elements.

The suspended sculpture organizes the void through a rigorous geometric structure. Floating corridors and vertical alignments emerge from the composition, defining pathways without enclosing them. By suspending the grid in equilibrium, SpY introduces a system that establishes order while remaining immaterial and functionless.

all images by Ruben PBescos

suspended geometric installation balances order and lightness

Visitors are invited to move through the spatial framework, where the relationship between body and structure becomes central. The repeated pattern produces shifting perceptions of scale, as distances and proportions appear to expand and contract depending on movement and viewpoint.

Through MATRIZ, the artist explores the temporary architecture of perception. By suspending simple forms in a precise arrangement, the installation transforms emptiness into a navigable environment that emphasizes orientation, rhythm, and equilibrium.

MATRIZ occupies the main hall of a former turbine factory in Hungary

SpY’s MATRIZ installation consists of a suspended grid of black rectangular elements

SpY transforms the void into a three-dimensional framework of floating forms

suspension creates a system in equilibrium, balancing order and lightness

corridors and vertical alignments emerge without solid walls

the structure defines pathways while leaving space open and permeable

proportions shift as viewers navigate the spatial pattern

the grid generates rhythm through strict geometric order

black forms hover in silence, creating an immaterial geometry

project info:

name: MATRIZ

artist: SpY | @spy__studio

location: Budapest, Hungary

commissioned by: INOTA Festival

photographer: Ruben PBescos | @rubenpb

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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