Archive
IRZ Creative archive, page 2.
SLYBOX and Bon Drawer use nearly the same ingredients but put the guiding function in different places. Two prototypes make a useful question visible: what does a drawer actually need to keep?
To reassure regulators and residents at the same time, Open Point built its identity around the chisel and carved stone. The choice says a lot about trust in civic software.
In Folded Memories, Estefania Ajcip builds her childhood memories in three dimensions: cardboard maquettes, carved foam, birch plywood and small LEDs. The frame stops closing the scene.
Grace Baldwin is building a monumental junk drawer filled with fake objects worn like real ones. The series grows a few objects a day, with an inventory partly crowdsourced from her audience.
A three-month project lands in a five-week calendar. The way through isn't hiring fast, it's cutting first: what you keep, what you delegate, and what coordination actually costs.
For Gaia Alari, paper is not a retro prop: every new drawing reintroduces grain, pressure and small differences into motion instead of removing them.
SLICE turns worn tennis balls into footwear without shredding them: 3D-printed guides convert the sphere into repeatable parts while keeping felt bonded to rubber.
Pentagram built De Bijloke a fluid identity and a simple generative tool its single in-house designer can operate without returning every motion job to the agency.
APPARATUM begins with a score assembled on a screen, but its sound is generated by real magnetic tape, motors and moving optical oscillators.
Cracks, blackened rims, gauze and visible repairs remain in Tom Sachs's ceramics. The defect is not erased; it joins the manufacturing record.