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Active Learning Lab, Liverpool The University of Liverpool was enthusiastic about the idea of illuminating the facade of their Active Learning Laboratory using endless artistic colour scenes to highlight the building’s presence. They wanted to make a statement that the University was not only providing a new education building with first class facilities, but also one which would advertise itself to the City of Liverpool and to the wider audience in an area which surrounds the city from a far. There is also lot of competition to attract students between the University of Liverpool and John Moore’s University and the client wanted this building to “outshine the competition.” Being located next to the Roman Catholic Cathedral, the highest landmark in the City, Arup Lighting proposed the use of rich vibrant, multi coloured images to “paint” the facades with light in order to raise theprofile of the University at night. The Active Learning Laboratory fa?ade was developed with Sheppard Robson Architects as part of the University of Liverpool’s Engineering Building refurbishment. The facades 1500 m2 of glazing floats 1.0 meter above the main building and consists of alternate rows of 1400 mm dotted pattern and 800 mm clear glass panels on each of the seven levels. A total of 413 No dotted panels provide a highly reflective surface for illumination using specially selected RGB (19212 x 1W) LED linear luminaires. The lighting effects can be programmed to display simple numbers, letters and geometric shapes as well as an infinite array of lights, colour, morphing designs and patterns with selective fading over set time periods. Flyfire, MIT SENSEable City Lab Imagine that pixels could fly out of your computer screen and create an immersive, luminous cloud capable of displaying digital information in three-dimensional space. This is the vision beyond Flyfire, a new project put together by researchers at MIT’s SENSEable City Lab and Aerospace Robotics and Embedded Systems Laboratory (ARES Lab). Flyfire uses a large number of remotely controlled, self-organizing “micro helicopters”. Each helicopter contains small LEDs and acts as a smart pixel. Through digitally controlled movements, the helicopters perform elaborate and synchronized choreographies, generating a unique free-form display in three-dimensional space. Using the self-stabilizing and precise controlling technology developed by the ARES Lab, the motion of the pixels is adaptable in real time. The Flyfire canvas can transform itself from one shape to another or bring a two-dimensional photographic image into an articulated shape. “Today we are able to simultaneously control a handful of micro helicopters, but with Flyfire we are aiming to scale up and reach very large numbers,” said Emilio Frazzoli, head of the ARES Lab. “Flyfire opens up exciting possibilities: as on a conventional screen, pixels can change color, but now they can also move, creating a transient trace of light in three-dimensional space,” said team member Carnaven Chiu. “Unlike traditional displays that can only be seen from the front, Flyfire becomes a three dimensional immersive display that can be experienced from all directions.” via/by: senseable. Thanks to Oliver Schürer for the hint! Digital Facade Medialab-Prado, Madrid Open Up is an advanced project development workshop for the digital facade of Medialab-Prado. From February 9 through 23, working groups will develop selected projects in a collaborative way. The event includes theoretical activities February 9, 10 and 16 with lectures by the teachers of the workshop and also Erkki Huhtamo and Jennifer Steimkamp. Technical information: Digital facade’s size, inferior rectangle: Digital facade’s resolution: Nodes/Pixels: Interactive Power Sation, Brussles Create your own Shooting Star and share your wish with your loved ones and the millions of commuters! The interaction is easy and fun, accessible to all from 5 to 105 years old. You will then receive an email indicating when your Shooting Star will be displayed on the Electrabel Power Station Cooling Tower in Drogenbos, the south side of Brussels. Come see it LIVE or watch it on the webcam on the project’s website. Everyone’s Shooting Stars will be displayed on the Tower from 5pm to 8pm, Brussels time (GMT+1) until January 4th 2010. The aesthetic of luminous ceilings From the image of heaven to dynamic light Klimahaus 8° Ost, Bremerhaven Angeregt durch die geografische Lage und Adresse ?Am L?ngengrad 8°“, wurde das Scheibenraster der Fassade als Netz aus Meridianen betrachtet. An deren Kreuzungspunkten fixierte LED-Lichtpunkte sollen Assoziationen wecken; ein Netz aus Licht als Referenz zum weltumspannenden Konzept des Klimahauses. Die Lichtplaner haben sich früh dafür entschieden, die gesamte Hülle mit Licht zu bespielen und das Innere des Geb?udes am Abend auszublenden. Die sensationelle, freie Architekturform sollte durch Licht unterstützt und am Abend als Ganzes erfahrbar gemacht werden. Darüber hinaus war es den Planern wichtig, eine ?sthetisch langlebige Inszenierung umzusetzen; ein Grund warum das Licht der LED einfach wei? und nicht farbig leuchtet. Für das Klimahaus wurden vier Animationen gestaltet und programmiert: Eine statische Einstellung der glimmenden Lichtpunkte wurde für die allabendliche Inszenierung des Projektes eingerichtet. Diese Einstellung pr?gt die abendliche Identit?t des Klimahauses. Eingebettet in die Havenwelten erscheint es als futuristisches Objekt, das neugierig macht.
1980 LED-Punkte, bestückt mit jeweils 2 Stück kaltwei?en Hochleistungs-LEDs, wurden speziell für das Projekt angefertigt und direkt hinter den Fassadenscheiben montiert. Die LEDs überziehen die gesamte Fassade und Teilbereiche der Dachfl?che. Die Punkte sind über eine DMX-Steuerleitung, eine entsprechende Software undeinen Computer einzeln ansteuerbar. Der Gesamtanschlusswert der Fassadeninszenierung betr?gt lediglich 2,6KW; bezogen auf eine Gesamt-Fassadenfl?che von ca. 7.700 qm sind das ca. 0,33 W / qm: eine au?erordentlich positive Energiebilanz für ein Projekt dieser Gr??enordnung. Die LED-Beleuchtung tr?gt, neben den Pollerleuchten auf der Umgebungsfl?che, auch zur Au?enbeleuchtung bei. By / Via: pfarré lighting design The Cloud, London
The history of Olympics and Expos is one of heaviness– of mass and monumentality and conspicuous expenditure on immovable objects whose legacy has occasionally endured, but have always been outdated. Our most extraordinary contemporary feats of engineering are more stealthy, more extensive and more invisible than these traditions of glass and brickand steel: Code rather than Carbon.
The Cloud proposes a new form of monument – a new form of collective expression and experience, and an updated symbol of our dawning age. It proposes an entirely new form of observation deck, high above the Olympics – from which one can not only see the whole of London, but the whole of the world, immersed in the euphoric gusts of weather but also immersed within that new, pressing and endlessly compelling environment in which we increasingly congregate – the digital sublime.
The principal effects of the Cloud are generated from their context – from the aerial sea of swarming data, from the diverse populations of London, the UK and the wider string of global villages, and from the seamless stretch of weather that unites us all. The structure is comprised of a filigree central array of columns – servicing as circulation systems dropping from the sky like the tendrils of a banyan tree system.
The inflatables are saturated with an LED information system which densifies locally into lightweight info-screen hotspots where visitors can navigate information about the immediate surroundings. The luminosity and air pressure of each sphere is independently controlled –– giving rise to the networked, self-organizing Cloud. via: the CLOUD | www. Dynamic Ornament 1.0, Vienna-Karlsplatz
What could a facade only concerned with cultural issues do, how might it look like and how could it challenge commercial advertising-surfaces? An experimental setup to provide an answer has been displayed at the Kunsthalle Project Space in Vienna. Three properties that differ severely from commercial displays have been realized: the screen is transparent, it gleams its image to both of its sides the inside an outside at once, it offers a non-homogenic resolution. Once realized it produces kinetic and perspectively effects in the very substrate of the medium itself.
The classical architectural ornament of the diffuser layer, a laser cut parametric design pattern, gets an overlay by pixel animation and group interaction. As the designer is confident that what he calls the upcoming “urban mass media” shows an urgent demand not simply for appropriate content but more over for a “new ornamental iconography”.
Hardware: Zumtobel, System Capix Update 16? _ ?53 , Saint Denis LAb[au] managed to finalize their installation based on the 16? _ ?53 Project. Here we have some photos of the final work.
Green Ray, Lisabon
Designed to celebrate the thematic “Green Ray” party, organized by our client LuxFrágil with the collaboration of Patrick Goor, this light installation is simultaneously an intensely physical and artistic experience for the invited guests. Our design, using green lasers and mirrors producing totally analog visual effects, consists of two light sculptures: a green ray of light apparently perforating the building and a big outdoor light tapestry whose appearance changes according to the movement of the guests that become co-creators and yet challenged to take part of this collaborative experience. |
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