Jersey Devils, Inflatables

“As this project shows, most of the inflatables were inhabitable, putting them irrevocably in the realm of architecture. Many were used as experimental environments, enclosing performances of music or art as a conceptual incubator of these practices. Easily made, repaired, and deployed, inflatables were intended to be temporary and cheap. The major components—plastic sheets and large fans—could be found anywhere.”


Austrian artist Klaus Pinter explores the potential of the space around us with his fantastical floating installations. Usually suspended in mid air, his giant artworks are at once light, fluid, soft, and mechanical. They are also incredibly bizarre, created using a combination of different textures and inflatable materials like plastic and nylon. Many who see his works describe them as curious flying machines and angelic cocoons, speaking to the artist’s ability to alter our perceptions, even the way we see famous landmarks from the Pantheon in Rome to the Seine waterway in Paris. 

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Contact High: The Countercultural Visions of L.A.’s Environmental Communications 

Environmental Communications: Contact High is the first major exhibition of the prolific west coast media collective, Environmental Communications. The exhibition was organized at Columbia University GSAPP by Wark Wasiuta, Marcos Sánchez, and Adam Bandler, and is traveling to Chicago this fall for the Chicago Architecture Biennial. Formed by a group of young architects, photographers, and psychologists in the Venice Beach of the late 1960s, Environmental Communications honed an image practice that aimed to constitute a new visual syntax for the late-20th-century city. The group speculated that their “environmental photography” would alter architecture and transform the consciousness of architecture students via the university slide library. Organized into thematic slide sets with titles such as “Human Territoriality in the City,” “Ultimate Crisis,” and “Hardcore LA,” they experimented with the behavioral capacity of images as they pursued their goal of developing “systems of perception.” Through their media experiments, events and slide catalogs they positioned themselves as interpreters and purveyors of new trends, assembling a mass design imagery to resist the buildings and monuments that dominated architecture and its institutions.