Victor Sardenberg

Markus Hudert, Victor Sardenberg, László Mamngliár. Winnipeg - 2024.

Authorship: Gabriel Lester Collaboration with Isabella Previti 2022 Departing from Gustav Palm’s 1893 patented mirror maze, endlessly reflecting itself, the space it installed in, and the content it bears, needed to be disjointed. The maze reflects endlessly, the subject or object itself could never be aware. And this is how the giraffe came to exist in both its own world and that of an infinite reflection it itself has no awareness of. This “paradox of perception” is an age-old philosophical problem to mankind, where the mind struggles to grasp reality, but in practical terms can only generate various concepts and theories of what reality could possibly be. Ultimately, the mirror-maze installation “Pluralistic Ignorance” radiates an uncontrolled enthusiasm for what may initially seem an unlikely, implausible, and exclusive combination of elements and associations. The installation proposes its own kind of travesty, where unusual elements are joined - and endlessly re-joined in reflection. The term “Pluralistic Ignorance” stands for a situation in which a minority position is wrongly perceived as the majority position. One of the best-known examples of such a situation is Hans Christian Andersen's fairy tale "The Emperor's New Clothes,” the story which two con artists convince the emperor that they make the finest clothes in all the land, that can only be seen by anyone who was not stupid.

Studio Tobias Rehberger London, 2022 Tobias Rehberger David Berens Lutz Bantel Victor Sardenberg   Photos by David Berens

Studio Tobias Rehberger Turkey, 2019 Tobias Rehberger David Berens Lutz Bantel Victor Sardenberg Photos by David Berens

Gabriel Lester - PolyLester - 2020
What if a building can change its appearance? What if a pavilion can be turned on or off? What if a facade can be programmed as a movie montage or played as a musical instrument? What if architecture functions as a smart interface for exhibitions and events? Mirage is an art pavilion whose entire glass skin can be programmed into infinite metamorphoses.
Video

Consultancy in design a fabrication of the dome structure for the artist Marcio Ambrósio.   Thanks to the cranks that trigger the numerous gears, the audience interacts with the work; changing the thread of history, causing movement and aesthetic transformations, revealing unusual worlds and creatures. It is a personal reinterpretation of these universes focusing on the contemplation of the movement, analog and digital. The work is divided into 2 parts: the Moviola, sort of a “ship”, that allows the audience to navigate into the worlds. The Dome, a semi-dome shaped sculpture that supports the projection and propels the audience into an immersive journey. Turning wheel and cranks, the audience takes care of the "ship" and travels in the worlds, changes the world’s orientation, approaches or follows a creature, causing interference in the animation of the world he is discovering. This is why each history is unique... MOVIOLA makes the audience disconnect from the real world and brings a feeling of peace and tranquility. July,2014

This is the fifth gridshell from the collaborative series between Dalhousie University, the University of Arizona, the University of North Carolina Charlotte, and the University of Louisiana Lafayette. Victor Sardenberg's role was in modeling, simulating, and optimizing its overall structure together with Lawrence Friesen in 2015. Parks Canada and Coastal Studio are partnering to build a nature-themed pavilion that will accommodate a range of events within the Cape Breton Highlands National Park campground site. The building,  a landscape response, acts as a destination for park users. The project is located at the tip of the upper campground, adjacent to the headquarters site, and at the trailhead of the salmon pool trails. The building consists of long north and south earth berms, with a single wooden gridshell roof as the central feature. This open-air building contains programmatic elements located both underneath the roof of the structure and within the vicinity of the adjacent forest. More information here.

Consultancy on generative algorithms for Guto Requena. VIDEO! "Love Stories shaping everyday objects" The LOVE PROJECT is a study in design, science and technology that captures the emotions people feel in relating personal love stories and transforms them into everyday objects. The project suggests a future in which unique products will bear personal histories in ways that encourage long life cycles, thus inherently combining deeply meaningful works with sustainable design. The complexity involved in developing this project was made possible thanks to a multidisciplinary team sharing in a collaborative design process. Ultimately, this LOVE PROJECT has many authors. It seeks to include the end user in the process of creation itself, as participants, thus democratizing and demystifying the use of interactive digital technologies. Participants themselves will investigate cutting-edge possibilities in the digital design industry and its new logic of creation, production, transportation and sales. Sensors applied to participants read their subtle reactions while they tell the defining love story of their own lives. As participants speak, data drawn from their changing emotions is relayed to specially-developed software. Via a graphic interface created in Grasshopper, this data molds every aspect of a design object which is then fabricated using a 3D printer. July, 2015

For this factory office and show room annex, a ‘coBLOgo’ sunscreen is made up of parametric attraction point controlled rotating concrete blocks. Designed within SUBdV Architecture. January, 2015

VIDEO! Developed within Estúdio Guto Requena, these bench's shape were generated extracting parameters from two samba songs: “Canto de Ossanha” by Vinicius de Moraes and "As Pastorinhas" by Noel Rosa. Team: Guto Requena, Vitor Reis and Mariana Schetini. June, 2014

This is the interior design for the Hertogenbosch stedelijk Museum, in The Netherlands, by Studio Campana. My role as a consultant on this project was to rationalize, optimize and generate the CNC milled geometry and assembly drawings. It was developed within SUBdV Architecture. March, 2012

Invited to analyse the architectural design of the three modern art museums in Brazil (São Paulo, Rio de Janeiro and Salvador), SUBdV proposes a hybrid version, merging important characteristics of each museum. The main goal is to optimise the circulation system connecting different levels and the surroundings to generate new programs and events. MAM - Museum of Modern Art - São Paulo, December, 2013.

Anaïs table is a single NURBS surface CNC-milled. Developed and built within SUBdV Architecture and finnished by Cláudio Duarte - JCK. July, 2013

Interactive pavilion for the 2012 International Festival of Electronic Language (F.I.L.E.). To be located along Avenida Paulista, the aim is to create an interactive and supple design, using recursive scripting, associative modelling, processing and Arduino with digital fabrication. Based on the Strings Pavilion design of the 2011 High-Low workshop, the pavilion will react to light sensors and human activity, so as to transform and create a range of different lighting and spatial effects, triggering further movement of the pavilion and producing an interactive feedback loop of behaviour and response. In collaboration with Rob Stuart-Smith, Anne Save de Beaurecueil, Franklin Lee, Lawrence Friesen, Lucas De Sordi, Thomas Von Gutten, Ernesto Bueno, Helen Sakano, Julio Radesca, Loira, Gilfranco Alves, Flávia Ghirotto, Cynthia Nojimoto and dozens of AA Visiting School Students. From 2011 to 2013.

For the entrance wall of the 2011 International Festival of Electronic Language Exhibition (FILE) in São Paulo, repurposed `high-tech` CNC offcut sheet leftovers from the  Architectural Association Visiting School Workshops were re-clad with `low-tech` beach-chair type multiple-colour nylon piping, and mounted on a series of sliding tracks. Like violin bows, a series of fixed sound capture devices were activated by the sliding, rhythmically-spaced piping of the panels and the voids of the offcut sheet, and the sound was then digitally transformed, mutated and played back through a series of sound filters. The `low-tech` movement of the panels on tracks activated a `high-tech` sound transformation, producing a series of complex echoes in a non-linear sound landscape. Credits: SUBdV: Anne Save de Beaurecueil, Franklin Lee, Victor Sardenberg, André Romitelli, Lucas de Sordi, and João Fabricio de Oliveira