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A wayfinding beacon for New Orleans’ electronic music festival
With a successful debut last month at Mardi Gras World in New Orleans last, the electronic music festival Buku Music and Art Project could become a mainstay of city’s lineup destination events. Envisioning what a success the event would be, Tulane architecture professors Nathan Petty and Sheena A. Garcia jumped at the opportunity to create a temporary installation for the event site at the edge of the Mississippi River. Petty and Garcia founded their design office, Npsag, in 2008 to work with radical architectural forms and emerging technology. While much of their work is speculative, the Buku installation had the practical purpose of being a wayfinding device at the event’s main entrance.
The team calls their piece Grass-To-Grid. It is meant to operate as an arrow, pointing the way to a concert’s VIP areas and main event spaces.
“Our client was interested in the re-use of materials from the industrial landscape,” said Petty. “However, the name comes from our idea to translate the grassy field of the traditional concert site to the industrial edge of the the Mississippi River. This manifested itself as a completely new digital artifact inspired by digitally composed electronic music. The name itself represents music’s evolution from an analog source to a digital one while incorporating this re-thinking of the site”
The piece is designed as a series of peaks that can be reconfigured depending on desired crowd interaction. On the first day of the Buku festival, the piece was assembled as a continuous surface, with a small opening for attendees to walk into the center of the piece. “We wanted people to be able to go inside of it to create an immersive experience,” said Petty. On the second day, the installation was divided into two parts, allowing concertgoers to walk through its roughly 4 ½-foot-tall landscape.
Npsag designed the installation as an unfolded surface, designing in Rhinoceros, 3D Studio Max, and VRay, then translating the pieces into AutoCAD for construction. The 200-square-foot piece has more than 100 special angles created from the designers’ initial kit of parts and cut and assembled by hand. Twenty-two unique surfaces are framed and hinged to create eight peaks.
The piece’s vinyl exterior is a nod to the truck tarps and billboard signage that make up the concert site’s industrial landscape. A black-lined graphic on the skin reiterates the overall shape of the piece. “We kept a keen eye on white surface because we wanted to shine black lights on it, to transform it during nighttime,” said Petty.
Will the duo create similar event installations in the future? “We’re certainly interested in working again at this 1:1 scale and having a progressive concept to support it like this kind of super event,” said Petty. “We would certainly love to go bigger. On the other hand we want to go higher-definition, which means higher detail and integration.”