Posts tagged as 'interaction design'
Recently, after two years of work, the Brussels-based LAb[au] exhibited ‘Framework f5x5x5’, a 2x10m generative and interactive kinetic display, at the Basilique de Saint-Denis in Paris. The sensoric installation consists of a aluminium-plexiglas-structure which is illuminated by 6750 LEDs.
Here is how LAb[au] discribes the project:
“The installation ‘Framework ƒ5x5x5′ is an interactive kinetic light sculpture, extending the bi-dimensional screen space, by transposition of its pixel resolution to the physical space. Conceived as a modular infrastructure, ’16n_ ƒ5x5x5’ is a communication and computation system, propagating in form of light and sound, the events it inhabits. Presence and motion create and alter the transmitted data, and propagation of this data becomes a space-time parameter.”
“The project title refers to informatics’ modular workspace, called a framework. Here, ‘ƒ5x5x5’s frames constitute the framework a space built up by five modules of 2x2m, divided in 5×5 squared elements, establishing a matrix of 5x5x5 = 125 modules. At the one side diffusing the light (white) and at the other side absorbing the light ( black ), the modules constitute a binary language (0,1) and a space of 125 pixels, allowing to transcribe captured data from the physical environment in a kinetic and luminous play _ in between opening and closing, in between transparency and reflection, in between light and dark.”
The project was realised during the Nuit Blanche Paris Festival with the support of: Commission Arts numériques de la Communauté française de Belgique: Arcadi
to the LAB[au] website
Posted by Nora Schmidt on 02.10.2009 - Tagged as: Facades, interaction design
Mechanical Media Surface, photo: decoi
The term Media Facade is often associated with over-dimensional screens and animated, illuminated advertising, and places like Times Square, the Strip in Las Vegas and Hong Kong are trailblazers for this media architecture. The façade itself is dematerialized and turned into one huge advertising medium for sending messages. At the onset of dusk the building moves into the background and serves only as a backdrop for the light show which then becomes the main attraction. Media facades can evoke the most diverse emotions, from a big city feeling to annoyance at light pollution. They are also seen as tourist attractions, Pop Art or as eye sores.
Architecture tends to use media facades more and more as a stylistic feature. What used to be applied to facades after construction more in the way of a blemish is now part of the planning process and offers new scope for visionary design which coined the term ‘Mediatecture’.
Here we are will introduce the most significant ideas, projects and products.
Inside the Media Surface, photo: decoi
Mechanical Media Surface
Screens and lighting elements generally offer a change of the three dimensional perception of an immobile object. The first known interactive media surface was, however, made up of a mechanical display and was the result of the work of a team of architects, engineers, mathematicians and programmers. It is precisely this spatial change that creates different surface images which makes the ‘Aegis Hyposurface’ so revolutionary. The display has been constructed using reflecting metal plates that are moved pneumatically and react in ‘real-time’ to electronic input. Sensors transfer impulses from the surroundings of the display and these are transmitted to a matrix of rotors to which the metal plates are attached. The movements of the spectators are transferred in ‘real-time’ to the display and transferred in exact detail into expressive, naturally looking flowing movements.
Prototype, photo: decoi
continue article @ Architonic
'mv_alg_#09' by Pablo Miranda at Tent Digital
Interaction with sensory user interfaces – computers, automats, mobile phones – has become part of our everyday life. Interaction designers and software engineers, the masterminds behind those complex systems, make an effort to develop more subtile ways of utilising digital devices ever since. The more intuitive manipulation becomes, the easier it is to embed the technology into everyday life. The procedures which have thereby changed particularly challenge product designers and architects. What does a solely acoustically operated telephone look like? And what about a computer interface working in three dimensions?
'Performative Ecologies' by Ruairi Glynn
Before finding their ways into the most recent mobile phones or facade systems such new developments are mostly exemplified in installations – Ars Electronica in Linz is the major international festival for digital art. In collaboration with the first London Digital Week, this year’s Tent featured ‘Tent Digital’ – an extensive exhibition of digital and digitally supported work by international designers and artists.
continue article @ Arcitonic
OMU – among architecture experts these letters are not only the initials of Oswald Mathias Unger but also the trademark of the strict and geometrical constructions of the German architect.
The Kunsthalle Hamburg, built in 1995, is exemplary for Unger’s affinity for repetitive patterns and grids. In May it became the matrix of a video installation by the German interaction designer Daniel Rossa from Urbanscreen. Conceptually the projection is based on the raster of the building’s façade – a rigid and static structure which Rossa tried to break visually. Two giant hands seem to rest on the the façade, according to their movements the cubic elements of the façade’s grid start to shift.
555 Kubik by Urbanscreen
Architectural elements such as windows or spaces were distorted and re-projected on the façade. The result is a completely new spatial perception of the architecture and the direct environment.
“How it would be, if a house was dreaming” Daniel Rossa
Distorted architectural elements reprojected on the façade
to the Urbanscreen website