On the occasion of its new collection Le Bleu, Random.studio made a multi-sensory experience for Jacquemus that unfolded in and around London’s Selfridges. Our series of playful indoor and outdoor spatial interventions, each accented by a commissioned scent scape infused the store with waves of nostalgia for the hot summers of the South of France and a dash of the brand’s signature wit. Intermingling spatial design and interactive scenography with smell,random.studiooffered visitors a memorable holiday away from the everyday.

The three different locations random.studio created each riff on the central theme of water. Partly inspired by founder Simon Porte Jacquemus' passion for collecting soap, the Corner Shop reimagines the bathroom through a surreal lens where daily objects grow larger than life. Viewable from the street, the window display features a toothpaste tube mid-squirt while a gigantic Jacquemus branded paracetamol-pill fizzes in a glass in the entrance.

Against the backdrop of fresh blue tiles, products are displayed in the bathtub, the shower, the sinks and a towering wall made of soap. Visitors can take a seat on a huge sponge to watch digital droplets splash onto the floor of the shower, activated by their presence.

The experience is not only visual: tapping into the universal aromas of these objects, random.studio collaborated with in'n'out fragrances to make three 'trompe-nez' that interact with the different spaces. Soap, which takes the herbal blend of the iconic Savon de Marseille as its base, Paracetamol, which plays on citrus, medicinal notes and Toothpaste, a familiar fresh and minty scent.

Le Vestiaire transports visitors away from London's grey skies and into a bustling swimming pool changing room in the South of France. This immersive experience is inspired by Jacques Tati, whose films transformed the banality of modern life into snippets of absurd humour. After being greeted by a nonchalant pool attendant decked out in Jacquemus, visitors enter a modernist, seemingly-infinite monochrome space partitioned by cabins.

The changing room is animated by a soundscape and lighting gestures that bring life to each cabin, from pacing and humming to light play that suggests a human presence behind the door. Like a joke unfolding around them, visitors become part of the choreography of the space. They can enter several of the cabins where several mini-scenes play out, from a Russian doll-like cabin with multiple versions of itself inside to a cabin rattled by an unexpected gust of wind.

Other cabins only open half-way as if visitors have walked in on someone changing, before a towel appears over the edge accompanied by a voice announcing 'occupé.' The space is filled with the commissioned scent Public Pool which uses the nostalgic smell of chlorine as a base, accented by cassis. Nearer the exit, a frosted glass entry to the 'pool' where life-size projections of people can be seen, the smell transforms into Sunscreen – a trace of creamy, coconut aroma bound to resurface childhood memories before visitors take the door back to the streets of London.

Finally, for the outdoor Terrace, random.studio designed a space to host the Jacquemus pop-up Vending Machines that were previously shown in Milan and Paris. Reinterpreted in a striking blue with the brand's signature circle used as an entry point, the convenience store-esque machine is open and accessible to passersby 24/7. For those not in London, souvenirs from these three spaces can be experienced online too in the form of 3D content that random.studio have created for social media. 

Please see random.studio’s page for more documentation.

For: Jacquemus, Selfridges
Role: Creative Lead
With: Cosima Antoine (Spatial Lead), Rachael Short (Producer), Morgan Maccari (Creative Direction), Ralph Kok (Technical Lead),    Philip Ghering (Creative Technologist), Fanny Dora (Spatial Designer), Karina Golubenko (Graphic Design), Lucas De Ruiter (3D Creative), Sytze Van Der Wolk (Creative), Sasha Gudkova (3D Artist), Souvenir Scenic Studios (Le Vestiaire + Corner Shop), MDM Props (24/24), In’n’out Fragrance (Fragrance design)

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Intermingling spatial design and interactive scenography for Jacquemus

Throughout S. Salter’s album 'Juun', each track transports you to a different location. Song by song, a journey is formed.

‘A Walk With… S. Salter’ is a visual performance that connects you to this journey. 

By immersing the audience in film recordings of the landscapes that inspired the soundscapes of ‘Juun’, you are transported through the same nostalgia and longing, the same thoughts and emotions that inspired S. Salter while writing the album Juun.

Over forty five minutes, the audience is taken on a journey through important locations to S. Salter, and the album Juun. Throughout the pandemic, the time when the album was written, Samuel Ruddick of S.Salter took walks through his neighbourhood of the Jordaan. During these walks, which were the only escape from the confines of the lockdown era, Samuel would write and rewrite different elements of the album. 

“I wanted to create a feeling of nostalgia within the album, which I tried to capture using certain sounds (including field recordings), chord progressions (the song ‘Swim’ I originally wrote around 10 years ago, so, even if only for myself, that was nostalgic), and images”

The artwork of the album, Juun, a photograph by collaborator Kerry Williams, evokes this nostalgic, emotive and sometimes sombre tonality of the album.

“The album is heavily influenced by the South West of the UK where I’m from, Cornwall and Dorset. The coastlines, seas, and forests from these areas are by far the biggest influences for this project”

Throughout the journey, the visuals take S. Salter, and with them the audience, from Samuel’s apartment, out onto his regular pandemic walk, before transitioning to these aforementioned locations – a mixture of coastlines and forest walks. 

For the live experience, a walk was paired with each act of the show, narratively fading between the streets of Amsterdam, where longing memories of these locations inspired the music, and the locations themselves, creating a dreamlike, ephemeral journey. 

At one point walking at dusk in Amsterdam, then dawn in the New Forest. 

By immersing the audience in large scale projection across both the rear wall and the floor of the venue, the medium of film transcends its surface and becomes environmental, literally taking the audience on a walk.. 

Having performed in Nxt Museum and Khroma, this is now on display at Khroma New Media Art Centre as an installation piece until the 10th of August.

Khroma New Media Art Centre: https://khroma.berlin/s-salter/
Nxt Museum Performance: https://www.youtube.com/watch?v=D8rWcHzI15M&t=904s
Press Release: https://docs.google.com/document/d/1VwWE1ahqHXut9N_du9n1J3-BMVJ5a8XqBp6Ytckw6Ow/edit

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Immersive Concert Visual for S.Salter with Sam McCormick

In celebrations of the 30th anniversary of Mugler’s iconic scent Angel, random.studio created a pop-up that blends fragrance and fashion at the Cornershop in London’s Selfridges.

Amplifying Mugler’s signature emphasis on volume and proportions, the pop-up is made up of giant fragments of a woman’s body that break up the space into a variety of retail experiences.

Seen from the street, the sculptural installation forms an abstract side view of a woman elegantly reclining. The curves, crevices and folds of the body are rendered in a reflective material that mirrors the viewer’s gaze, throwing back a distorted image – a nod to Mugler’s sense of humour and seduction.

Inside the Cornershop, visitors are invited on a journey through the body which slowly reveals itself, its interior forming shell-like structures coated in the signature Mugler blue. The leg houses the fragrance collection, unfolding around a drop-like refill fountain that allows customers to have their perfume bottles refilled before exploring the torso which cocoons a selection of pieces and a fitting room.

The body’s chest and buttocks create a dome for the final space: the Synesthesia Chamber. A concoction of light, sound and fragrance, this multi-sensory experience immerses visitors in the magic of the house’s eau de parfum Angel. A polyphonic soundscape of siren-esque voices coaxes visitors into the space and towards a scent sculpture, illuminated by undulating lights.

As the visitor approaches the drop-like structure, the lights intensify and the sculpture emits a short burst of fragrance whilst a projection lights up the space with stars which slowly transforms into the abstract shapes of heavenly bodies.

Our approach to the interior architecture of the space bridged the past and present of the brand’s fascination with the human body; a hyper-feminised, futuristic take on the silhouette born in the 80s and now shaped by the creative direction of Casey Cadwallader.


For: Mugler
Role: Experience Lead
With: Frédérique Albert-Bordenave (Creative Lead), Tiemen Rapati (Creative Lead), Kyle Kobel (Concept) Lucas De Ruiter (Spatial Design), Cosima Antione (Spatial Lead), Rachael Short (Producer), Lawrence Daykin (Producer), Ralph Kok (Technical Lead), Steve Buchanan (Interactive Soundscape)
Xylotek (Physical Production), Spatial (Immersive Audio), Beau Nox (Sound Design)

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A multi-sensory pop-up store for Mugler

In 2019, developer Neil Chatterjee and I developed a series of genetic sculptures. There were lots of projects around this time, and indeed there are still many today, focused on the creation of sculpture with 'Artificial Intelligence', or Artificial Neural Networks, or GANs, basically, sculpture entirely created by computers not with computers. Often the results would be about creating images that looked similar to sculptures, images that could pass as sculptures, created by networks trained on huge libraries of existing works, however, in this way, these sculptures were bland averages. They were good at making sculptures that you would never think twice about, that passed the test of sneaking in as real objects. We felt dissatisfied with these approaches and outcomes and tried to create our own Generative sculptures, which I'll explain in not-so-brief below.

The process was inspired by GANs emerging at the time, or 'Generative Adversarial Networks'. These networks consisted of a generator, and a discriminator. As something is generated, perhaps like our sculpture, or a line of text, or an image, the discriminator would determine its 'fitness', giving it a rating or fitness score, "how real is this image", "Does this text make sense" etc., each time, the generator and the discriminator would learn from each other and get better, arriving at more accurate and 'fit' results. With sculptures, however, there is no such fitness rating. 

What makes a good sculpture? People can make arguments for proportionality, for balance, harmony, but in the end these are almost entirely subjective. We can say what makes up a sculpture practically, "Material, Place, Surface, Edge, Texture, Colour, Scale, Mass, Centre of Gravity, Volume, Space, Movement, Light and Memory" according to Herbert George – but not what makes it good or even great. So we decided we would leave the discrimination to individual humans, but for generation we had to come up with a way to reliably generate sculptures, and to have their share traits per generation. 

To achieve this, each sculpture started as a cube, and a sequence of fours steps was applied. First, face selection, this was any of the 6 faces, second, extrusion, this is the process of pulling away from that face a new one, and with it a new volume, the third process was rotation, and the fourth scaling. This meant that the sculpture was made up of building blocks, similar to DNA, that could be interchanged with other sculptures - our version of ACGT, or FERS (Face selection, Extrusion, Rotation, Scaling). It looked something like this - 3,4,48,34,.....

Via this methodology, each sculpture 'generation' was randomly created, 100 individuals at a time, which was then followed by a selection process. Once a maximum of 4 favourites were decided, the other 96 sculptures were deleted. These 4 favourites then were interbred, resulting in 100 new sculpture children. In the creation process was an element of mutation, a specific amount of random-ness that would inspire evolution, new traits between the sculptures. This process was then repeated as many times as the participant felt needed to arrive at their perfect sculpture - often this process tended towards homogeneity as participants had biases towards certain looks or forms from the sculpture. 

In this way you are truly co-creating with the machine, not guiding it or shaping it, but encouraging it and dissuading it (dissuading is a nice way of saying culling the sculptures you don't like), your taste develops as does the code within the sculpture, arriving ever closer at an ideal. In a way, this echos the current state of generative AI. You arrive way quicker than you could otherwise at usable visuals, but to get it to do exactly what you want is nearly impossible.

Reflected in the material of each sculpture is a portrait of its co creator. 

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An animation running through all 101 generation of matriarchs - resulting in the final sculpture

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Genetic Sculptures with Neil Chatterjee

On the occasion of The North American Pavilion, an exhibition at Frieze’s No. 9 Cork Street, sponsored by Danish footwear brand ECCO, Random Studio was commissioned to design custom seating for the gallery’s public spaces. Mimicking the injection-moulded, fluid form of the recently-launched Cozmo Slide, we produced a collection of colourful furniture that playfully responds to, and facilitates, the choreography of guests at an art opening.

Directive Furniture is a term that Sander Plug and I coined in the process of creating this furniture, referring to the way that we followed specific postures and poses instead of traditional ergonomic standards. Taking inspiration from the injection moulding of the Ecco Cozmo which supported the posture and pose of the wearer, we looked at postures and poses one might find around a gallery viewing. Leaning against a wall, crossing legs, leaning back with both arms out, or two people sat facing one another. 

We used a motion capture suit to capture these postures, poses, and then using simulations in 3D software, we injection moulded around these postures. For the main bench, we started by looking at the way people would naturally sit around each other, shoulder to shoulder, back to back, some led down and some with their legs crossed, we then ‘inflated’ the foam around these forms. The result was ergonomically designed furniture, with an emphasis on social comfort instead of individual.

For: Ecco X TNAP
Role: Creative Lead
With: Sander Plug (Creative), Lucas De Ruiter (Creative), (Lawrence Daykin) Producer, Jungmin Bang (Creative),  Greta Ballschuh (Mocap), Hugo Bruvry (Mocap) 

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Directive Furniture for ECCO x The North American Pavilion

'Hospital Job' is a lucid ride through remixed, retold, and reinterpreted memories. Locations and moments from throughout the year of 2020/21, from around the UK and Netherlands, Belgium, are rearranged, re-explored, and re-presented in 360° to allow the viewer to experience these memories as their own.

The video was designed to feel like somewhere between a near-death experience, a trip and a lucid dream. Things don't appear as they should, perspectives are warped, scenes and surroundings aren’t complete, lighting rapidly shifts, and the camera eerily flys through these memories, or dreams, in artificially smooth ways. Certain parts of images are very well replicated but small details are lost, faces become abstract shapes. 

Each memory sits as an island, floating in space as the viewer moves through exploratively, some memories or spaces blend into one another, often illogically but always seamlessly. Flashes of pure serene blue skies, birds flying and other real videos appear as backdrops to the memories, pulling the scene in and out of reality, both closer to and further away from real memories.

I first met Kris when playing the game ‘Rust’. It was literally the first time I logged in, I might have been running around for about fifteen minutes when I stumbled into Kris building a small base. I spoke to him and offered to help him build his base in exchange for him preferably not killing me, and to also learn some more about the game. Meeting with Kris on Rust became a semi-regular thing for a while, we became good friends through playing this often arduous and painful open-world game together. 

Once I found out Kris made music, and I told him that I had interest in making a music video, we decided at some point to collaborate, to make a 3D music video inspired by the weird adventures of rust. During one evening, we spoke about ego deaths and near-death experiences, and Kris told me about the inspiration for one of his new tracks, which happened to be one of said ‘I think this is it’ moments. We both spoke and laughed about our all too close brushes with potential insanity and the emotions that came with it. He showed me the song ‘Hospital Job’, and I instantly fell in love with its spooky looping echoing sample, and its heavy bass hits. I decided that if I was going to work on a track it would be this one. 

I then set about using a borrowed iPad Pro with the new Lidar 3D scanner, capturing most events of my life in the last year, any interesting locations, happy moments, a nice tree here or there, i captured it all. I loved the way you could endlessly reexplore and rediscover these 3D models. Not just in the way you can with google images or old photos and videos, but that you can actually discover new things, new elements, new items of interest. I found the whole experience akin to a lucid dream or the process of remembering a memory. I can always remember what people look like, but the moment I try to imagine someone's face, to see it in my mind's eye, it falls apart. Again, this was matched in these 3D scans, with the postures, colours, shapes of people intact, but their faces often abstract blocky unrecognisable objects. 

I spent many evenings and weeks exploring these digital memories, replaying them over and over, choosing the most interesting and most compelling. Ones that I felt meant something, to myself and to the song. The kind of memories your mind might flutter back to upon flirting with death, the kind of flashback moments you see in movies, beautiful serene moments with family and loved ones, interjected with odd bits, like trees and bridges, that I cant quite remember where or when I saw them, or why on earth I would be remembering them. This is often the way my brain behaves in a good dream. I think this is what this music video is. A semi-lucid ride through remixed, retold and reinterpreted memories.

A huge thank you to Feline Hjermind, without whom I wouldn't have got anywhere near completing this project, nor would it have reached the quality and finish that it did thanks to her incredible editing skills and contributions to the project.

Watch here: https://www.youtube.com/watch?v=1A1sFtoJ8eM
With: Feline Hyermind (editor) https://www.instagram.com/feline.hjermind/

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Explorative Music Video for Inwards

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An Introverts approach to Street Photography

During the pandemic, I was part of a group of artists, DJs, and creatives who really missed going out clubbing. Live streaming was already a thing before the pandemic  platforms like Boiler Room are probably how the majority of DJing was consumed. But one thing that was missing from these platforms was interaction. You got to talk with your fellow watchers (if you were lucky and they enabled comments), to react with thumbs up or fire emojis, but the DJs never saw you, or felt you. In reality live concerts are a constant interplay between the performer and the audience. Supplanting this with the para-sociality of twitch stream chats, frog emojis and 'super-chats' was never going to replicate the reciprocal thrill of a physical DJ set. Boiler room solved for this by just being a repository for streamed offline events, half of the lure and thrill being the FOMO generated through watching behind a screen.

Energy is a term often invoked to explain this feeling, the energy of a night, of the crowd, of a DJ set, a feeling or vibe that transcends its constituent parts, the physical walls of the club and the composition of the songs. I think this interplay between the performer and the audience is precisely responsible for this, the back and forth, anticipation and expectation. 

So in a time where a physical audience crammed in a small basement night club was both illegal and unethical, we worked on a live show that prioritised the ability for DJs to interact with participants. We hooked up a projector to bean to the left and right of the DJ a huge screen showing the multi panel view of a zoom call, with a technician VJing between some of the best dancers and partiers. 

Throughout the live stream we had so many amazing moments, people video calling in from their phones and laptops everywhere to dance, and the interaction between the DJs and these fans was both hillarious and heartwarming in a time where we were so deprived of these moments. 

Some highlights were a surgeon raving, using his surgical light to create a strobe effect within the space. We had a regularly returning nudist who was a fan favourite. Lots of pets. You can still see every one of the 10 sessions we conducted. As you can imagine streaming this on the mainstream open-web platforms was difficult, at any single event we would be simultaneously streaming to at least 3 just incase. 

Watch it all again here: https://www.facebook.com/clubinthecloud

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An Online Rave During the Pandemic

The Fashion Department of the Royal Academy of Fine Arts Antwerp commissioned Random Studio to think about how to translate their show into the digital. What kind of platform accommodates the diverse – and potentially last minute – range of works created by their large group of students?

How to bring the energy and experience of the physical runway to the screen? We used the opportunity to think forward to the possibilities of future fashion shows.

In our vision, physicality remains at the heart of this digital architecture. We deconstructed the mechanisms and internal logic of the traditional fashion show, re-imagining how they could play out in virtual space in front of a global audience.

Through the traditional eyes of classic fashion show cameras, the visitor is invited to view and experience an innovative digital event. 2020.SHOWWW.be takes place in an online structure that references our shared understanding of space, but is enhanced using digital tools.

The platform independently showcases the elaborate creations of all 140 Bachelor students across three year levels and 9 Masters’ students in an event that unfolds live over a number of hours, and can then be rewatched on a timeline afterwards.

Challenging the perception of a model, the student’s work shimmies its way down the runway, in a novel way of showcasing fashion graduation content.

The choreographies of the real-life fashion take on a new shape on the platform. Here the virtual runway is located in a geometric space, ever changing to represent the collection on show.

Read more about how this project was conceived technically in this article on Medium, and see random.studio’s page which is full of great documentation.

Show: https://2020.showww.be/
Random.studio link: https://random.studio/projects/a-virtual-fashion-graduation-show-for-the-royal-academy-of-antwerp
How its made: https://medium.com/random-studio/alone-with-others-shared-online-experiences-decentralised-d3fdca35df3b

For = Royal Academy Antwerp
Role = Digital Art Director
With = Formats and Mechanisms (Creative Direction), Frédérique Albert-Bordenave (Creative Direction), Rachael Short (Producer) Larix Kortbeek (Technical Direction), Kevin Wang (Creative Technologist), Jurgis Lietunovas (Creative Technologist), Geoffrey Lillemon (3D Specialist/Sculptor), Ben Mingo (Web Design), Mark Prendergast (Video Edit), Christopher Tym (Video Edit), Words (Sophie Wright)