The Beach, a giant interactive art installation by New York-based studio Snarkitecture, is coming to Tampa, Florida on August 5th. As its name suggests, The Beach is a massive indoor landscape that uses recyclable plastic balls in place of real sand and surf. The World Architecture Community reports that the faux-shoreline, landing in the Amalie Arena, will be 75 feet wide, complete with surf chairs and umbrellas. Adding to the illusion will be mirrored walls that make the expanse of "water" seem endless. The National Building Museum in Washington, DC hosted the exhibit last year, and it was a smash hit with kids as well as the press. The Tampa exhibition will up the ante from its last iteration, with 1.2 million balls instead of 750,000, and a total of 15,000 square feet. Amalie Arena, home of the NHL's Tampa Bay Lightning, will provide the venue. The exhibit will run from August 5 to August 25 and is free, but you'll need to reserve a ticket to attend.
Posts tagged with "interactive art":
Architects design an interactive installation at the Smithsonian that calls for participants to overthrow dictators
Viva la revolución? A new interactive installation in Washington D.C. named Starry Heavens aims to use architecture for anarchy by unifying participants and encouraging them into carrying out collective acts of mobocracy. The brainchild of game designer Eric Zimmerman and architect Nathalie Pozzi, Starry Heavens is a quirky neo-political game (of sorts) which features a sleek white, snake-like form that sits above the participants. Below is a grid with black, grey and white interconnected bases, which if anything, is emulative of molecular lattice-like structure. According to The Creators Project, users have to stand on these bases and can only move when instructed to do so by a "central ruler," who is the only one allowed to talk. The aim of the game is for the players (who can join at any time) to overthrow the dictator. After meeting on Craigslist in 2008, Zimmerman and Pozzi have collaborated on similar projects prior to this one. In their first venture in 2009, they created BlockBall for the Come Out and Play festival. This isn't the first outing Starry Heavens has had either as the game in fact was initially designed for a MoMa event, exhibited in 2011. Speaking to The Creators Project, Pozzi explained why the exhibition space at the Smithsonian was a pulling factor. "For the installation at the Smithsonian, the white curve was very much a response to the physical space, we wanted to design a visually striking element that connected the play on the ground with the stunning Kogod Courtyard. The curve serves as a theatrical backdrop for the project and also as the 'heavens' of the title, Starry Heavens." The installation was fabricated by Erik van Dongen of Air Design Studio. Clara Ranenfir contributed to the design. Described by the pair as a "political fable" the installation seeks to use the physicality of the space to enliven themes of power and control, amplifying how this can shift via collaboration of the masses. "Starry Heavens tells an absurdist story of a pointless conflict. Players conspire with and against each other to overthrow a central Ruler, who commands where they can step. Whoever becomes the new Ruler takes over the nonsensical goal of trying to pull down a gigantic helium-filled balloon before they themselves get overthrown and replaced." "The way an architect structures space through material is very much like the way a game designer structures behavior through game rules," Zimmerman explains. "Perhaps architecture can learn to think of itself as a responsive discipline that reflects its environment and its users in a more honest and immediate way." The physicality of architecture in particular appeals to Zimmerman. "Maybe games can learn to be less disposable," he says. "I love the idea of designing a game that—like a building—is meant to last for decades or centuries."
The 18 winning projects shortlisted in the Field Constructs Design Competition flag a range of pressing socio-environmental issues through whimsical takes on interactive public art. The exhibits will occupy an old landfill and brownfield in Austin within the Circle Acres nature reserve, turning the site into a bizarre outdoor museum teeming with site-responsive sculptures and unforeseen creatures. Here, we take a look at some of the winning proposals to be displayed from November 14–22. Cloudfill by Blake Smith, John Cunningham, Seth Brunner (New York) This three-part installation is made of plastic bottles stuffed in bags. Each piece is specifically designed for either forestland, wetlands, or dry land, and references a different environmental issue, from deforestation to strip mining and microplastics in the ocean, to advance the educational mission of the Ecology Action of Texas. A floating bridge is planned for the park’s wetland area, which used to be a quarry.
Commpost by Daniel Gillen, Colby Suter, Gustav Fagerstrom (Beijing)These disorienting camel humps rising in the middle of a field are an educational commentary about composting. Visitors scan QR codes or use the on-site WiFi to learn about ecological food disposal. Like a LEGO set, it comes with a step-by-step assembly manual and can still function with minimal component parts. Visitors can throw scraps and water into pits within the sculpture and watch them turn into dirt. Dis-Figure by Aptum Architecture (Syracuse) This vaguely equestrian sculpture looms out of the swampy shadows like a guardian angel. Built from a wood frame covered in latex, the sculpture reportedly “glows” and changes appearance throughout the day. “Through the intertwining of skeleton and mutilated skin, a digitally enhanced structure and its biodegradable latex ornamentation disfigures the form and, in turn, alludes to a new reading of ‘form meets nature’ as the grotesque, the uncanny, and the unexpected,” said the architects. Las Piñatas by Goujon Design (Austin) This exhibition bespeaks the proverbial tension between development and preservation. The giant piñatas pay homage to a local family-owned piñata store that was razed in early 2015 by a pair of transplanted property developers in the city’s rapidly gentrifying East Austin neighborhoods. “The low-income and predominantly Hispanic neighborhood of Montopolis”—where the park is located—“will inevitably become another friction point between the development of a ‘new’ Austin and the preservation of ‘old’ Austin,” according to Field Constructs. Meat Church Field Kitchen by Jordan Bartelt, Scrap Marshall (Los Angeles) The design for this short-lived smokehouse riffs on a lone church standing in the Texas barrens, where seasoned grill-masters prepare juicy meats to be consumed with others like at a church picnic. However, folks of all faiths are welcome at this non-denominational gathering.
Save for the extreme examples—Beijing's “airpocalypse,” for example—air pollution is often an invisible problem. For at least a brief period, designers from Brooklyn and data scientists from San Francisco hope to change that in Louisville, Kentucky. Across the city 25 sensors gather data on air quality, including the concentrations of particulate matter and carbon monoxide, transmitting the data to a colorful, interactive kiosk on the corner of Fourth and Liberty streets in Downtown Louisville. Designers at Brooklyn-based Urban Matter, Inc. dubbed their project Air Bare. As the downtown screen displays real-time air quality data, they invite passersby to engage with the installation. Encased in bright orange, powder-coated steel, a video screen fills with bubbles representing particles of air pollution. Poke your head into the display and you can pop the bubbles, earning points and taking air quality quizzes. Urban Matter's Rick Lin told WFPL the playfulness is meant to inspire action:
A big part of the component of this piece is educational, so once we grab people’s attention, we want—without being too preachy—to give them some information to help them make better decisions every day.Urban Matter conceived the short-term piece with the Office of Civic Innovation, Louisville Metro Government, and San Francisco's Creative Commons. On their website, the firm said they hope the project “creates awareness, identifies sources of pollution and propels the public to take action.” Open in time for a health symposium attended by Prince Charles, the piece will be up for six to eight months.
Flint, Michigan kicked off a series of events celebrating education and the arts Friday, unveiling interactive installations cooked up over a year-long after school program local students have dubbed Museum of Public Schools. Produced by the Flint Public Art Project, the ongoing exhibition will culminate in a series of proposals by students to change their school system. Mott Middle College plays host to the ongoing event. “Usually students just experience their own educational opportunity and journeys,” Mott Principal Cheryl Wagonlander said in a press release. “It's rare for them to step out of the role of experiencing and become the seekers of information about how varied educational access and opportunities are in their own community and beyond their own community.” On the corner of South 2nd Street and Saginaw, students installed chalkboards that asked the public, “What is the purpose of education?” Answers varied widely in tone, from sarcastic to self-reflective. The Museum of Public Schools program is just one of several summer events planned as part of the growing Flint Public Art Project’s programming. Upcoming events include a “porch light initiative” to illuminate the city on June 19 to celebrate the day in 1865 when Union soldiers announced the end of the Civil War. More information is at www.flintpublicartproject.com.