Building materials

Ulises Studio Transforms Milan's Palazzo into a Clay-Inspired Inflatable Landscape for Skoda

During Milan Design Week 2026, Ulises Studio, under the direction of architect and digital artist Ricardo Orts, introduced an engaging inflatable art installation named 'Ooooh, that's EpiQ!' This project, designed for Škoda Auto and showcased at the historic Palazzo del Senato, reimagines the traditional exhibition space as a dynamic, clay-inspired landscape. Orts describes the installation as an inclusive 'playground' for both children and adults, fostering exploration and interaction within its soft, vibrantly colored environment. The space seamlessly transitions from a daytime hub for activities like yoga sessions and coffee to a transformed, illuminated spectacle after dark.

This innovative showcase integrates physical and digital components, with the yet-to-be-revealed Škoda Epiq vehicle and its sculptural counterpart, the EpiQ sculpt, at its core. These elements are set against a backdrop of exaggerated, colorful structures that evoke the malleability of clay, strikingly contrasting with the Baroque architecture of the courtyard. The exhibition unfolds through various interactive zones, including an open atrium for relaxation, a digital corner that delves into Škoda's brand evolution through LED displays, an auditorium, and a family-friendly area. Even a Škoda Elroq is repurposed as a mobile café, enhancing the installation's hospitality aspect.

Beyond its physical manifestation, 'Ooooh, that's EpiQ!' serves as a storytelling platform for the upcoming Epiq model, emphasizing discovery and open-ended engagement. By staging this contemporary installation within one of Milan's most iconic historical venues, Škoda and Ulises Studio create a fluid, temporary playground that blurs the lines between visitor, art, and environment. The Valencia-based studio's approach effectively softens the historical setting, infusing it with vibrant colors, tactile experiences, and informal programming, diverging significantly from conventional exhibition formats.

The installation's design philosophy centers on the sensory experience of modeling clay, translating Škoda's distinct design language into a setting that invites direct participation. Visitors are encouraged to immerse themselves, pause, and interact with both the space and the brand's narrative. This immersive experience is not just about viewing but about active engagement, transforming the Palazzo del Senato into a vibrant, living canvas that continuously evolves throughout the day and into the night. The strategic use of light further enhances this transformation, creating different moods and perceptions of the space.

The collaboration between Škoda Auto and Ulises Studio exemplifies a forward-thinking approach to brand activation and public engagement in art and design. By leveraging the historical context of the Palazzo del Senato and introducing a playful, interactive element, they have successfully created a memorable and thought-provoking experience at Milan Design Week 2026. This project underscores the potential for design to transcend traditional boundaries, creating spaces that are both aesthetically compelling and deeply engaging for a diverse audience.

DATALAND: The World's First AI Arts Museum to Open in Los Angeles

Refik Anadol Studio is preparing to unveil DATALAND, the world's first museum dedicated to AI arts, scheduled to open its doors on June 20, 2026. Located within Frank Gehry's architectural masterpiece, The Grand LA, in the vibrant heart of downtown Los Angeles, this institution promises to redefine artistic expression in the digital age by merging human imagination with artificial intelligence. Spanning 2,320 square meters, the museum will house five unique galleries, fostering a dynamic environment for exploring the creative potential of data and generative systems.

As the grand opening approaches, the studio has offered a preview of Gallery C—the Infinity Room—a reimagined version of one of its most celebrated installations. This multisensory experience, first conceived at UCLA in 2014, has been showcased in over 35 cities to more than 10 million visitors. Its latest iteration at DATALAND features advanced AI-generated scents and sophisticated world models that simulate physical and spatial dynamics, demonstrating the museum's commitment to responsive, living art environments. The inaugural exhibition, "Machine Dreams: Rainforest," will run from June 20, 2026, to January 31, 2027, transforming all five galleries into a narrative exploration of the intricate relationship between machine intelligence and the natural world.

Further enhancing its innovative mission, DATALAND will also launch an Artist Residency Program in partnership with Google Arts & Culture, providing a platform for artists to delve into human-machine collaboration. Additionally, a membership program will offer early access and engagement with the museum’s digital platforms, including the Living Encyclopedia, which allows visitors to interact directly with the datasets and AI systems that drive the museum's exhibits. This long-term venture by Refik Anadol and Efsun Erkılıç, whose studio was founded in Los Angeles over a decade ago, signifies a monumental step in permanently embedding data-driven art within an architectural framework, challenging perceptions, and fostering empathy towards environmental intelligence.

DATALAND represents a visionary initiative that transcends traditional art forms, pushing the boundaries of creativity and technology. By integrating artificial intelligence into both its architecture and exhibitions, the museum invites us to reconsider our relationship with data, nature, and the evolving definition of art itself. It stands as a beacon of innovation, inspiring future generations to engage with art that is not only visually stunning but also intellectually stimulating and deeply connected to the world around us. This groundbreaking institution encourages a future where technology and humanity coalesce to create profound and meaningful experiences.

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Uzbek Craft Exhibition Showcases Rich Cultural Heritage at Milan Design Week 2026

During Milan Design Week 2026, the Uzbekistan Art and Culture Development Foundation (ACDF) proudly unveils 'When Apricots Blossom,' an exhibition celebrating Uzbek craft. Hosted at the esteemed Palazzo Citterio in Brera, this captivating display offers a profound exploration of Karakalpakstan's cultural expressions through textiles, culinary arts, and architectural forms. The exhibition, conceived by ACDF Chairperson Gayane Umerova and curated by Kulapat Yantrasast of WHY Architecture, ingeniously reinterprets ancient traditions within a modern design context, showcasing a dynamic interplay between past and present.

Inspired by Hamid Olimjon's 1930s poem, 'When Apricots Blossom' beautifully weaves a narrative of ecological inheritance through the region's craft and design, particularly focusing on the Aral Sea area, which has faced significant environmental challenges. Curator Kulapat Yantrasast, a distinguished architect influenced by Tadao Ando, emphasizes Uzbek craft as a 'living knowledge'—a material intelligence that transmits ancestral memories across generations. This collaborative endeavor, a cornerstone of Uzbekistan's ongoing commitment to rejuvenating the Aral Sea region, aims to position the nation's profound cultural legacy on the global design stage. It brings together a diverse group of twelve contemporary designers, including luminaries such as Bethan Laura Wood, Marcin Rusak, and Nifemi Marcus-Bello, to work alongside skilled Uzbek artisans, reinforcing the belief that design is an ever-evolving journey of innovation and tradition.

The exhibition at Palazzo Citterio thoughtfully unpacks Karakalpak culture through three compelling themes: textiles, food, and shelter. Visitors are greeted by an exquisite tapestry designed by Bethan Laura Wood in collaboration with local Uzbek artisans, featuring hand-woven ribbons and tassels traditionally used in nomadic yurts. The main gallery then unfolds the compelling narrative of the Aral Sea and the ongoing initiatives to shape its future. Presentations from the Aral School and the Aral Culture Summit, alongside a specially commissioned film titled 'Where The Water Ends,' are artfully integrated within an undulating landscape of reed-like rods, designed by WHY Architecture, evoking the region's distinctive environment. Bridging the gap between the installation and daily life, designers showcase custom-crafted bread trays and stamps, known as 'chekich,' highlighting the profound significance of bread ('non') in Uzbek hospitality. These intricate pieces, fashioned from wood, silk, felt, reed, and ceramic, exemplify both artistry and functionality. The historic garden provides a serene setting for a 'deconstructed yurt'—a contemporary interpretation of traditional dwellings by WHY Architecture—which serves as a dynamic space for public programs, including engaging talks, hands-on workshops, and insightful guided tours throughout the week. This comprehensive exhibition not only celebrates Uzbekistan's vibrant craft heritage but also underscores a message of environmental awareness and cultural preservation.

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