SPACE PARTITION 01
DARKNESS EVAPORATOR (2023)
Adjustable light reflector assembled with a spray-painted CNC-cut steel construction with a cylindrical concrete base.
SPECTRE 1-5 (2025)
SPACE PARTITION 02 (2025)
We propose a modular spatial system of textile space partitions. The required suspension structure is composed of tubular steel elements, with linear and circular segments of 45° and 60°. It is complemented by two types of connectors: one for joining two elements and a branching connector for three. This set enables an infinite number of spatial constellations, adaptable to a wide range of architectural conditions. It can generate sub-spaces of varying scale and form, create partitions or connections between rooms, and build linear or curvilinear wall-like structures.
The chosen curtain material can serve three functions: as a transparent visual filter, an acoustic surface improving sound quality, and as a semi-transparent, ephemeral room partition. The textile itself is fundamental. It is crafted through dyeing and bleaching natural fabrics using a variation of the Japanese Shi-bori technique, which employs geometric folding patterns and mechanical constraints during the bleaching process. Each curtain emerges as a unique expression of both material character and imposed constraint.
CORE CONCEPTS
Our spatial objects are connected through concrete or conceptual relationships that range from the very small to the very large, spanning multiple scales and disciplines.
Experiencing Intensities
Our works aim to foster social relations without relying on normative frameworks. We value the richness of human behaviour and cognition, beyond rigid social protocols. Freedom of expression, mutual respect, and communication define the space. The objects are designed with adaptability and mobility in mind, encouraging individual interpretation and use.
Digital and Material Interface
Our approach is rooted in a world increasingly shaped by digital influence, with AI as a key driver of human relations and societal progress. We address this impact critically, yet constructively. At the same time, our works retain a strong material identity: forms emerge through the dialogue between human intent and the inherent forces of materials.
These evolving forms and structures resonate with natural phenomena — such as the behaviour of liquids or chemical reactions — and evoke enriching psychological experiences that relate to the human and natural worlds. Coupled with their adaptability to digital environments, production processes, and shifting realities, this creates a bridge between past human experience and future technological development in art and science. We understand technological change within the broader continuum of human evolution.
Analogue preserves texture, noise, imperfection - what humans call soul.
Digital preserves accessibility, multiplicity -
what humans call reach.
^Together: authenticity that can also travel,
multiply, and endure.
Analogue ties you to the body and senses.
Digital ties you to code and thought.
^They build a bridge between sensation and symbol, flesh and algorithm.
Analogue resonates memory;
Digital encodes presence.
^They build a bridge between old knowledge and a future mind.
Analogue degrades with time.
The Digital is fragile and binary.
^Hybrid systems create redundancy and
longevity.
Psychologically, dissolving the duality resolves the split between soul vs. machine
^Humans can build systems that feel human yet scale like machines.
ARTIFICIAL SUPERINTELLIGENCE FRAMING
Analogue’s infinite smoothness
+
Digital’s precision and repeatability.
Signals that feel alive but can also be
stored, transmitted, corrected.
When analogue and digital dissolve into one
continuum, humans can:
^Touch infinity without losing count.
^Multiply their presence without losing texture.
^Live in both the flow and the archive at once.
It is the move from
either/or
into
both/and
— a ternary stance,
where analog = flow,
digital = grid,
and the synthesis
= pulse.
^
Thomas Zipp is a Berlin-based German artist. He studied at the Städelschule in Frankfurt with Thomas Bayrle and at the Slade School of Fine Art in London.
His practice spans painting, sculpture, installation, performance, and music, often combining dark, surreal, and ironic themes with references to science, religion, and psychology. Since 2008, he has been Professor of Painting and Multimedia at the Berlin University of the Arts. Zipp has exhibited widely, including at Tate Modern, MoMA PS1, Kunsthalle Fridericianum, and the Venice Biennale.
Norbert Palz is a German architect and researcher. From 1999 to 2002, he worked with UN Studio in Amsterdam and NOX Architects in Rotterdam before co-founding an architecture and art production company in 2003, a firm
integrating digital design and fabrication.
He earned a PhD from the Royal Danish Academy of Fine Arts in large-scale additive manufacturing for architecture. Since 2010, he has been Professor of “Digital and Experimental Design” at the Berlin University of the Arts. His work centres on CAD/CAM modelling, material innovation, digital fabrication, and early computer art. He co-authored and curated works with Yona Friedman, Zamp Kelp / Haus Rucker Co. and computer pioneer Otto Beckmann.
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last update: solar calendar gregorian 2.x.2025
Design, manufacturing, and installation of a site-specific, highly adaptive modular lighting system for a private apartment.
Suspended 60mm bent steel tubes (max. length 10.50 m), equipped with XLR plug-in adapters to various conical lighting elements.
BIPOLAR TABLE (2023-2024)
Side table with a corresponding perforated projector surface in spray-painted CNC-cut steel construction with a resin coating.
The projector is connected to the tubular lighting system of LIGHTING SYSTEM 01.
JACKET CHAOS - KONZEPT (2025)
JACKET CHAOS - KONZEPT
TRIPLE PROJECTOR (2025) // WIP
TRIPLE PROJECTOR (2025)