Refik Anadol(生于1985年，土耳其伊斯坦布尔)是一位媒体艺术家、导演，也是机器智能美学的先驱。他目前居住在加利福尼亚州洛杉矶，在那里他拥有并经营Refik Anadol工作室和RAS LAB，该工作室的研究实践集中在发现和开发开创性的数据叙事和人工智能方法。Anadol也是加州大学洛杉矶分校设计媒体艺术系的讲师，他在那里获得了第二个美术硕士学位。

Refik Anadol的作品主要探讨了无处不在的计算给人类带来的挑战和可能性，以及在人工智能时代做一个人意味着什么。他探讨了现在机器主宰了我们的日常生活，时间和空间的感知和体验是如何发生根本性的变化的。Anadol对数字时代和机器智能的方式很感兴趣，这种方式允许一种新的美学技术来创造丰富的沉浸式环境，提供动态的空间感知。

通过提出“后数字建筑”的可能性，Anadol邀请他的观众通过重新定义内部和外部建筑元素的功能来想象另一种现实。他通过超越媒体与建筑形式的整合，将新媒体技术的逻辑转化为艺术和设计来解决这个问题，特别是他的作品通过在建筑和媒体艺术与机器智能之间创造混合关系来探索数字和物理实体之间的空间。

居住在艺术，科学和技术的十字路口，Anadol的特定场地三维数据雕塑和绘画，现场音频/视觉表演和沉浸式装置采用各种虚拟和物理形式。整个建筑都活了起来，地板，墙壁和天花板消失在无限中，令人惊叹的美学从大量数据中形成，曾经人眼看不见的东西变得可见，为观众提供了一个新的视角，并叙述他们的世界。

贯穿Refik Anadol对看不见的世界的开创性可视化的主线是数据:在量子记忆中，2亿张地球及其景观、海洋和大气的照片被用来可视化自然的另一种现实;在第17届威尼斯国际建筑双年展的空间感上，大约70tb的多模态MRI数据，包括从出生到90多岁的人的结构、扩散(DTI)和功能(fMRI)扫描，被用来设计人类大脑灵感的艺术品;来自美国国家航空航天局/喷气推进实验室的宇宙档案摄影数据是“机器回忆录:空间”这一伊斯坦布尔有史以来参观人数最多的展览背后的推动力;在“机器幻觉”项目中，1.13亿张公开的纽约市照片被用来想象这座传奇城市不久的未来;在WDCH Dreams项目中，洛杉矶爱乐乐团(Los Angeles Philharmonic) 100年的数字档案被用来激发弗兰克·盖里(Frank Gehry)标志性建筑的视觉效果;对于奥克兰的地点感，实时环境数据，如风、温度和湿度，以及来自蓝牙、Wifi和LTE的隐形通信信号，为工作提供信息;在“柏林的潜在存在”中，参观者自己为人工思维过程提供了实时数据;对于夏洛特机场的互联，实时机场统计数据，如到达/离开，行李处理系统和地面穿梭运输，转化为不断变化的抽象形式，颜色和模拟纹理。

Refik Anadol的全球项目获得了许多奖项和奖项，包括Lorenzo il Magnifico新媒体艺术终身成就奖、微软研究院最佳视觉奖、Lumen奖、iF金奖、D&AD铅笔奖、德国设计奖、加州大学洛杉矶分校艺术+建筑莫斯奖、哥伦比亚大学故事叙事突破奖、加州大学艺术研究所奖、SEGD全球设计奖、b谷歌的艺术家和机器智能艺术家驻留奖。

Anadol的现场音频/视觉表演已经在世界各地的标志性地标，博物馆和节日中展出，如第17届国际建筑展-威尼斯双年展，维多利亚国家美术馆，沃尔特迪斯尼音乐厅，哈默博物馆，东大门设计广场，Artechouse，蓬皮杜中心，波特兰大厦，大田艺术博物馆，佛罗伦萨双年展，巴塞尔艺术博览会，OFFF节，蒙特利尔国际数字艺术双年展，Ars Electronica节，l’Usine | Genève， Arc De Triomf，Zollverein | SANAA设计学院大楼、santralistanbul当代艺术中心、户外视觉节、伊斯坦布尔设计双年展、悉尼城市艺术和Lichtrouten等等。

Refik Anadol工作室由来自不同专业和体育领域的设计师、建筑师、数据科学家和研究人员组成

Refik Anadol (b. 1985， Istanbul, Turkey) is a media artist, director, and pioneer in the aesthetics of machine intelligence. He currently resides in Los Angeles, California, where he owns and operates Refik Anadol Studio and RAS LAB, the Studio’s research practice centered around discovering and developing trailblazing approaches to data narratives and artificial intelligence. Anadol is also a lecturer for UCLA’s Department of Design Media Arts from which he obtained his second Master of Fine Arts.

Anadol’s body of work addresses the challenges, and the possibilities, that ubiquitous computing has imposed on humanity, and what it means to be a human in the age of AI. He explores how the perception and experience of time and space are radically changing now that machines dominate our everyday lives. Anadol is intrigued by the ways in which the digital age and machine intelligence allow for a new aesthetic technique to create enriched immersive environments that offer a dynamic perception of space.

By proposing the possibility of “post-digital architecture,” Anadol invites his audience to imagine alternative realities by re-defining the functionalities of both interior and exterior architectural elements. He tackles this by moving beyond the integration of media into built forms and translating the logic of a new media technology into art and design, particularly his works explore the space among digital and physical entities by creating a hybrid relationship between architecture and media arts with machine intelligence.

Residing at the crossroads of art, science, and technology, Anadol’s site-specific three-dimensional data sculptures and paintings, live audio/visual performances, and immersive installations take varied virtual and physical forms. Entire buildings come to life, floors, walls, and ceilings disappear into infinity, breathtaking aesthetics take shape from large swaths of data, and what was once invisible to the human eye becomes visible, offering the audience a new perspective on, and narrative of their worlds.

The primary thread that runs throughout Anadol’s groundbreaking visualizations of the unseen world is data: for Quantum Memories, 200 million photos of Earth and its landscapes, oceans and atmosphere were used to visualize an alternate reality of nature; for Sense of Space at the 17th International Architecture Exhibition – La Biennale di Venezia – approximately 70 terabytes of multimodal MRI data, including structural, diffusion (DTI) and functional (fMRI) scans of people ranging from birth to nonagenarians was used to design the human brain-inspired artwork; archival photographic data of our universe from NASA/JPL was the driving force behind Machine Memoirs: Space, Istanbul’s most visited exhibition ever; for Machine Hallucination, 113 million publicly available images of New York City were used to envision the near future of a storied city; for WDCH Dreams, 100 years of the Los Angeles Philharmonic’s digital archives were tapped to inspire the visuals projected onto Frank Gehry’s iconic building; for Oakland’s Sense of Place, real-time environmental data such as wind, temperature, and humidity as well as invisible communication signals from Bluetooth, Wifi and LTE inform the work; for Berlin’s Latent Being, the visitors themselves provided real-time data for the artificial thinking process; and for Charlotte Airport’s Interconnected, real-time airport statistics such as arrivals/departures, baggage handling systems and ground shuttle transportation transform into an ever-changing suite of abstract form, color, and simulated texture.

Refik Anadol ’s global projects have received a number of awards and prizes including the Lorenzo il Magnifico Lifetime Achievement Award for New Media Art, Microsoft Research’s Best Vision Award, Lumen Prize Award, iF Gold Award, D&AD Pencil Award, German Design Award, UCLA Art+Architecture Moss Award, Columbia University’s Breakthrough in Storytelling Award, University of California Institute for Research in the Arts Award, SEGD Global Design Award, and Google’s Artists and Machine Intelligence Artist Residency Award.

Anadol’s site-specific audio/visual performances have been featured at iconic landmarks, museums and festivals worldwide, such as the 17th International Architecture Exhibition – La Biennale di Venezia, the National Gallery of Victoria, Walt Disney Concert Hall, Hammer Museum, Dongdaemun Design Plaza, Artechouse, The Centre Pompidou, The Portland Building, Daejeon Museum of Art, Florence Biennale, Art Basel, OFFF Festival, International Digital Arts Biennial Montreal, Ars Electronica Festival , l’Usine | Genève, Arc De Triomf, Zollverein | SANAA’s School of Design Building, santralistanbul Contemporary Art Center, Outdoor Vision Festival, Istanbul Design Biennial, Sydney City Art, and Lichtrouten, among many others.

Refik Anadol Studio comprises designers, architects, data scientists, and researchers from diverse professional and personal backgrounds, embracing principles of inclusion and equity throughout every stage of production. Studio members originate from 10 different countries and are collectively fluent in 14 languages. The Studio’s internship program also demonstrates a strong commitment to mentoring young people from a variety of personal experiences, values, and world views.

A pioneer in his field, and the first to use artificial intelligence in a public immersive artwork, Anadol has partnered with teams at Microsoft, Google, Nvidia, Intel, IBM, Panasonic, JPL/NASA, Siemens, Epson, MIT, Harvard, UCLA, Stanford University, and UCSF, to apply the latest, cutting-edge science, research and technologies to his body of work.