The ‘prana’ experience explores the relationship between breath and light, giving visitors the ability the visualize their energy through its impact of 13, 211 individual LED sphere. The word ‘prana’ comes from sanskrit, and refers to a cosmic life force that originates in the sun and enters the body through the breath. studio b-reel creative interpreted that mean with 12 by 12 foot suspended sphere where visitors stand in front of a xethru radar sensor that detects breath. With this data, a custom computer code triggers color shifts and animations that make it appear as if the sphere is breathing with them. Add sounds by one thousand birds heightens the effects, transitioning between each phase of the experience. The team open sourced the code to allow for other artists and developers to create custom animations that can later be incorporated into the installation. The ‘prana’ b-reel creative project was completed designed and built in-house over the course of a year to promote memorable and emotional experiences powered by technology.
Guests are met with rungs of charred wood, gently illuminated from below
The charred pieces come from the region’s ubame oak
Serving as a visual indication of the food on offer inside, this restaurant in japan is clad with 3,000 individual charcoal pieces taken from ubame oak. designed by local studio supermaniac, the use of the material continues inside the dining establishment, which serves mainly charbroiled dishes. Upon entering ‘nen’, guests are met with further rungs of charred wood, gently illuminated from below. Within the seated areas, ‘kiku-zumi’ – a crosscut sawtooth oak charcoal that resembles the chrysanthemum flower – has been used. the pieces are placed between a one-way mirror and a fully reflective surface, creating a series of smaller reflections that enhance the form of the material. Within the design, traditional Japanese products have been incorporated to recall established ways of dining, while simultaneously embracing contemporary cuisine.
Until recently, renderings were the architect’s primary tool for understanding daylight in their designs—renderings, and a healthy dose of intuition. But a new generation of daylighting analysis tools, which is emerging alongside a new generation of daylighting metrics, are enabling architects to look at daylight in new ways—with important implications for design.
Business as usual, when it comes to daylight, is to use rules of thumb to design, then use renderings to check the design and communicate the intent. Rendering has fast become an art form: the creation of exquisite, evocative, often atmospheric imagery that communicates the mood, the experience, the visceral feel of the design. This is no accident: daylighting is a magic ingredient in architecture, bringing dynamism to static structure, imbuing buildings with a sense of time, and renderings are a powerful way to capture and communicate these ideas—a necessary complement to the hard line plans and sections that comprise much of the architect’s lexicon. Renderings have expanded our ability to communicate designs. They have also expanded our ability to conceptualize designs—and especially to conceptualize the daylight in our designs.