Mathematical formulas and infrared-sensors control the floor
Miguel Chevalier was influenced by Moroccan culture when creating ‘digital arabesques 2015′, a generative and interactive installation shown in association with four french institutes in Morocco. The work recreates Moroccan artistic traditions with a digital medium, creating massive sensor-controlled carpets of light. Multicolored digital scenes compose patterns reminiscent to the art of zelliges, arabesques, mosaics, and the world of mashrabiya–latticework.
Imagine luminaires that could fly and visualise new buildings or individually guide you through space. What would happen if you could even interact with these flying pixels? These concepts could be realised in the near future as the first prototypes and experiments are being introduced. Software-driven LED pixels combined with drone swarm technology provide extraordinary possibilities for inducing new forms of spatial experience. These luminous pixel clouds emerge as digital patterns, but at the same time they emanate a romantic quality with their unique star formations twinkling in the night sky. The first projects have shared a playful note, but laboratories such as MIT’s SENSEable City Lab, ARES Lab and Ars Electronica Futurelab have shown an intriguing future in urban design for guidance systems or envisioning real estate developments, as advances in battery technology and wireless control have opened new perspectives for a life with smart flying pixels.
The installation by American artist Megan Mosholder materializes the themes of transportation through light, ribbon, string, and video projection. ‘Terminus’ realizes the city of Atlanta’s past, present, and future transit networks, along with New York City subway tunnels. Visitors are able to enter and traverse the vibrantly colored space, intricately composed of interwoven strings, which radiate outwards from the structure and envelop the observer within. Neon blues and pinks cast a colorful gradient on the surrounding environment, and light projected onto the site illuminate the public work at night. The project — installed in at the Goat Farm Arts Center for the Hambidge Center of Creative Arts and Sciences Auction — considers the potential of the city of Atlanta if their transportation issues were resolved.
Starting tonight through June 9th, the city of Sydney is hosting an annual exhibition of light and music called Vivid Sydney. Dozens of light sculptures and projections will be viewable throughout the downtown area as well as in the Sydney Harbor in an event that is completely free to the public.
Presented during milan design week 2014 at ventura lambrate team-up ‘op-light’ is a wall-light series designed by bilge nur saltık. conceived as part of the OP-jects collection, the wall lamp uses the refraction as a tool to create optical illusions. the fixture contains multiple layers of textured panels; each clear geometrical textured surface functions to reflect the illumination pattern in different directions. by rotating these panels, the wall installation creates continuously glowing moving patterns.
Montreal-based studio moment factory has realized an immersive multimedia environment for the reveal of oakley‘s disruptive by design campaign. the interactive experience celebrates the brand’s history, design and innovations, visually transforming these values into a maze of vibrant color, beaming light and glowing projections cast along the walls of studio RED in los angeles. at the centerpiece of the installation, a vast room featuring 270-degree projection screens spotlight the cocktail reception area and later in the evening, a speech by oakley CEO colin baden. other participatory and hypnotic rooms allowed guests to reveal the content of wall and floor projections using infrared pointers, which also triggered real-time audio and video effects. equipped with the ability to directly interact with the engaging and dynamic space, visitors embarked on an exploratory experience in which they discovered the brand in a completely novel way.
Envisioned as an archipelago of interconnected halo-like masses, the ‘epiphyte chamber’ by canadian studio PBAI philip beesley architect inc. mimics human sensations through subtle, coordinated movements. conceived as an ‘epiphyte’, an aerial plant species that can grow without the support of soil, the immersive sculpture explores artificial intelligence, digital fabrication and interactive technologies to create a near-living environment. across each floating island, densely interwoven structures and delicate canopies made of thousands of lightweight components are drawn together in harmonious breathing and whispers. hovering fabric helps to frame the suspended pieces, lined with bulging, fluid-filled vessels and glands. the faunal groups contain metabolisms with chemicals, which move in response to slow reactions.
London’s barbican center has commissioned british art and design studio, united visual artists (UVA) to take part in ‘curve art’, a program launched in 2006 to artistically occupy the rounded space behind the cultural institution’s concert hall. In response, the creative team has produced ‘momentum’. The multi-sensory installation immerses the observer in light and sound, turning the corridor into a musical instrument, to which pendulums dance above. as they move, the space is transformed with patterns of light that vary from simple stripes to platonic geometric and floral forms. They play of illuminated areas and shadow creates an ever-evolving atmosphere through which, visitors are invited to linger, taking their time, moving at their own desired pace to the beat of the music.
One of the most impressive spectacles visitors can find at the Sochi games this month doesn’t have anything to do with sports at all. It’s their own face, over 20 feet tall, rendered on a giant morphing wall at the entrance to Olympic Park.
The Mt. Rushmore-style monument is “the first thing you see when you go in,” says Asif Khan, the British designer who conceived of the pavilion for Megafon, one of the games’ sponsors. Spectators start by getting their likeness captured at one of seven photo booths throughout the park. A five-camera array generates a 3D image of the face, which is then processed for the facade, where it’s rendered with 11,000 pistons, each acting as its own LED-tipped pixel. (After getting their picture taken, visitors get a QR code to scan that lets them know when to expect to see their mug go big.)