Posts tagged with "LEDs":
After a smashing success as part of a retrospective of visual and multimedia artist Pipilotti Rist at New York’s New Museum, Pixel Forest and Worry Will Vanish were acquired by the Museum of Fine Arts, Houston. The Swiss artist created Pixel Forest with lighting designer Kaori Kuwabara, constructing thousands of hanging jewel-toned LED lights that shift in waves of color. Worry Will Vanish is a projected video that occupies a corner of the room and takes the viewer through dreamy nature scenes and distorted views of the human body. Conceived separately but displayed together, the immersive experience transports the viewer into Rist’s world.
Pipilotti Rist: Pixel Forest and Worry Will Vanish Museum of Fine Arts, Houston 1001 Bissonnet, Houston Through September 17
Over the last few years, the areas around L.A. Live and the nearby Los Angeles Convention Center in Downtown Los Angeles’s South Park neighborhood have been undergoing a development boom, with mid- to high-end condominium and apartment complexes sprouting up at a steady clip. However, a new crop of projects currently either under construction or in the entitlement stages of development—dubbed Metropolis, 1020 Figueroa, Circa, and Oceanwide Plaza by developers—signal an infusion of upscale amenities headed for the area, all connected to the financial core and the rest of the city by a growing transit system, including the Long Beach–bound Blue Line and Santa Monica–bound Expo Line.
Three of the four projects mentioned above—1020 Figueroa, Circa, and Oceanwide Plaza—are to be located on the blocks directly across the street from the StaplesCenter, with the Metropolis development located a block northwest. Through their sheer density and size, they will bring a sorely missing street culture to an area that is roaring back to life.
But what will greet those pedestrians when they step off the trains and onto the streets? Walls of LED screens.
That’s because each project features large expanses of LED ribbon walls wrapping street-level commercial and leisure programs. And, to varying degrees, these ribbon walls are being programmed with art content in an effort to bring a new form of artistic expression to the street.
The Metropolis project, consisting of a multiphase, multi-tower hotel and apartment complex on a 6.33-acre site, is currently under construction, with the first phase of the project due to finish at the end of 2016. Eventually, the $1 billion-plus development will consist of four towers: Tower I will be 38 stories tall and contain 308 condominiums; Tower II will be 18 stories tall and contain a 350-room hotel; Tower III will be 40 stories tall and contain 514 condominiums; and Tower IV will be 56 stories tall and contain 736 condominiums. This project, designed by Gensler, is much further along in the construction process than the others and, as such, its arts program is starting to come into sharper focus.
The Metropolis project, like the others mentioned here, is subject to Section 22.118 of the City of Los Angeles Administrative Code, “Arts Development Fee Credits” (ADF) provision that requires commercial projects valued at $500,000 or more to pay a fee either based on the square footage of the building or equal to one percent of the project’s Department of Building and Safety permit valuation—whichever is lower—into a fund used to increase access to public art citywide. The ADF fund is administered by the city’s Department of Cultural Affairs, an arm of the city government that maintains a trust fund organized by project address to be used to fund arts initiatives at required sites, as necessary. This “one percent for the arts” approach is common in many California municipalities and is being stretched by this collection of projects to incorporate potentially new definitions of what public art might be in the city.
For Metropolis, arts consultants Isenberg & Associates partnered with project management firm DG Hunt & Associates to find suitable artists for the project. After a lengthy selection process, a team made up of digital media artists Refik Anadol and Susan Narduli was selected for the project. Their work Convergence, a 100- by 20-foot LED wall installation, will be unveiled in January of 2017 as construction on phase one wraps up, creating, the developers hope, an opportunity to introduce the project to the city and local community. Anadol and Narduli describe Convergence as “a generative construct fuelled by data and informed by aesthetics,” a synergy of Anadol’s digitally focused art practice and Narduli’s narrative-infused artwork. The duo wants the artwork—located in a plaza facing Francisco Street on the site’s eastern edge—to “create a lively public space by giving urban activities a new experiential dimension.” They plan to do this by fusing the “real-time demographic, astronomical, oceanographic, tectonic, and climate data streams, as well as social media posts, traffic, and news feeds into a constantly shifting cinematic narrative of Los Angeles.” The project was developed hand-in-hand with the architects as part of the overall design process, and is being deployed as an integrated architectural component of Metropolis.
According to the team’s statement, “Convergence explores new ways of storytelling through an intelligent platform that both expresses and responds to the spirit of the city in a seamless fusion of digital content, public space, and urban life.” The work will be available in situ for pedestrians to experience as part of the new sports and entertainment promenade the developers behind Metropolis hope to extend from L.A. Live to the upper reaches of the financial district. It will be available online, as well as via a mobile-device-friendly website accompanied by real-time audio. Experiencing the work in person will generate changes to the physical manifestation of the art, as the attendant data resulting from proximity, interaction, and occupation become woven into a living digital display.
It’s unclear what pedestrians can expect from the arts programs developed for the other three projects, but if Anadol and Narduli’s Convergence is a guide, expect more lights, more data, and perhaps most importantly, a closer relationship among architecture, digital art, and the public realm.
2016 Best of Design Award for Lighting > Indoor: Planned Parenthood Queens by Cline Bettridge Bernstein Lighting Design
2016 Best of Design Award for Lighting > Indoor: Planned Parenthood Queens—Diane L. Max Health Center
Lighting Design: Cline Bettridge Bernstein Lighting Design Location: Queens, NY
Planned Parenthood’s new clinic in Queens transforms a former storage warehouse into a welcoming ambulatory healthcare center. Using the building’s generous new windows as inspiration, LED light coves in bold colors punctuate a sleek, white interior. These colorful elements work with signage and furnishings to support wayfinding and spatial organization and the overall design embodies a modern, forward-thinking spirit, representative of the center’s youthful clientele. A thoughtful combination of LED and fluorescent sources achieves a 5 percent energy savings beyond the stringent standards and also meets the project’s modest budget. Light, color, and architecture are woven together to create a friendly, upbeat health center that will serve as a guide for future Planned Parenthood facilities.
Architect Stephen Yablon ArchitectureSignage & Environmental Graphics Calori & Vanden-Eynden Dimming Ballasts Lutron Fixed-Color LED Cove Lights iLight Technologies Adjustable Downlights Lucifer Lighting
Honorable Mention, Lighting > Indoor: Lincoln Square Synagogue
Lighting Design: Tillotson Design Associates Location: New York, NY
Small recessed LED downlights in the synagogue’s ceiling create the effect of a starry night, while LED coves with resin diffusers spill soft light onto the acoustical walls, accentuating its form and completing the imagery of a nomadic tented structure under a desert sky.
Honorable Mention, Lighting > Indoor: The Cathedral of Saint Mary of the Assumption
Architect: MBH Architects Location: San Francisco, CA
In order to maintain the character of this important cathedral while modernizing its lighting, long-life solutions like LED and fluorescent fixtures as well as DMX lighting were seamlessly integrated. The system creates studio-quality imagery for television recordings while maintaining a warm glow.
Owned by AEG and MGM Resorts International, the 650,000-square-foot T-Mobile Arena is the result of a three year process involving Populous and Hunt-Penta Joint Venture. The building showcases smart urbanistic principles, aiming to extend pedestrian amenities west from Las Vegas Boulevard along the formerly-named Rue de Monte Carlo (updated to Park Ave) with around 16 acres of park-like entertainment space. The project team, led by Brad Clark, Senior Principal at Populous, took inspiration from the surrounding desert by prioritizing a contextual design response that resulted in two unique facade systems: a thermal wrapper of insulated metal panels, and a curtain wall paired with a curvilinear LED screen. “Our team felt pretty strongly the building should be contextual and of Las Vegas,” said Clark. “Not just the city but the region. Everything in Vegas seems to be a re-creation of something else. We wanted this building to be more authentic than that.” The LED facade takes advantage of an axial connection to Park Avenue, orienting the arena’s main entrance to the northeast, facing Las Vegas Boulevard. Gabe Braselton, Project Architect at Populous says this offers a unique experience for pedestrians: “It really becomes a beacon as you're coming down the Rue de Monte Carlo off of the Strip.” Populous programmed the building to maximize its engagement to urban Vegas, pushing support spaces (restrooms, concessions, vendors, first aid rooms, etc.) to the perimeter to open up a large lobby space at the main entrance where a 1,000-person terrace hovers overhead. Above this, numerous private balconies provide outdoor access for some of the 50 luxury suites lining the arena. All of this activity is overshadowed by the LED screen, which is composed of individual 1/2” thick 50mm pixel pitch sticks set 2” apart. The 9,000-square-foot electronic surface is structured off of a primary steel frame with secondary 6” tube steel members forming a doubly-curved surface that cants outward toward the Strip while curving around the elliptical arena facade. The dynamism of the surface is further articulated with a skew in elevation, producing a parallelogram-shaped screen area with acute angles. Despite a density of LED sticks producing high-resolution video and a daytime-visible brightness level, the screen is surprisingly porous and doubly-functions as a shading and ventilation device for the outdoor balcony spaces and building envelope. The screen is set 18” off a standard aluminum-framed curtain wall assembly which provides enclosure of the building envelope. While previous Populous projects have integrated LEDs into curtain wall assemblies, the scale and tectonics of this configuration is something new for the firm, which has a portfolio of more than 17 NBA/NHL arenas and 85 university and civic arenas. Braselton attributes the unique scale of this facade to evolving technology which is managing to keep up with flexible, multi-purpose architecturally innovative arena design: "as we push different ideas and boundaries, the marketplace for the different products evolves as well. Every couple of years there is something new to consider." The LED facade system accounts for around 25% of the arenas surface area. The other 75% of the building, including south and west exposures, provides thermal response to a harsh desert sun. The earth-toned coloration and stratified composition of the metal panels reflect Vegas’ desert environment and its distant mountain topography. This composition extends inward to the seating bowl which takes on similar design aesthetic. Contained within these two wrappers is a multi-purpose arena that accommodates a variety of events from concerts to sporting events, beauty pageants, circuses and rodeos. "This venue is the definition of multi-purpose." End-stage concerts drove the seating bowl layout, which limits seating behind the stage to maximize capacity for concerts and other events utilizing an end stage configuration. Capacity varies based on the event, ranging from 12,000 to 20,000. Multiple locker facilities, dressing rooms, green rooms and multipurpose spaces were included to accommodate the variety of events and performances that will occur in the building. Since opening, the NHL has awarded an expansion franchise to Las Vegas which will play at the arena. The project, designed to LEED Gold specifications, opened in April and anticipates around 100 to 150 events annually. https://www.youtube.com/watch?v=inpJWJ7tLhg
With its limited financial resources, Philadelphia can’t save all the buildings in the city that deserve protection. But one structure that city officials are preserving is the 1960 Fairmount Park Welcome Center at JFK Plaza/LOVE Park, a round pavilion that locals have dubbed the “saucer” due to its Jetson-like qualities.
Designed by Roy Larson of Harbeson, Hough, Livingston & Larson, the building renovation is part of a $16.5 million upgrade to LOVE Park, at John F. Kennedy Boulevard and North 15th Street, well known for its Robert Indiana LOVE sculpture. The work is being described as a retrofit rather than a pure restoration.
Local firm KieranTimberlake will head the Welcome Center upgrade and prepare the building for use as both a visitor center and setting for a food and beverage operation. Hargreaves Associates is the landscape architect leading the park makeover, slated for completion by spring 2017, and Pentagram is the graphic designer.
The Welcome Center is getting energy-efficient glazing, a green roof, upgraded systems, and improvements to make it more accessible to the disabled. As part of the project, Philadelphia’s Office of Arts, Culture and the Creative Economy commissioned Chromoscope, a ceiling mural by husband and wife artists Tom Drugan and Laura Haddad of Seattle, under its “percent for art” program.
According to the artists, who are working with local lighting design firm The Lighting Practice, the ceiling mural is made with aluminum panels printed in saturated colors with archival ink. The image is composed of distinct patterns in separate colors, layered and blended to create an abstract pattern. In daylight, all of the layered images will be visible at once, resulting in an abstract pattern.
At night, red, green, and blue LED lights will transition through a variety of hues, durations, and sequences on the mural. The timing, speed, and type of color fades can be composed to create a variety of effects for different times and events. As the light color changes, the imagery changes, resulting in a kinetic optical effect that appears to animate the structure itself.
“The art reinstates the pavilion’s original lighting concept as a ‘lantern,’ but will be visually dynamic and compelling at all times,” the artists said. “From a distance, the dynamic pattern will embody the motion and modernist power of the original Welcome Center, which was conceived as an emblem of futurist ambition.”
The facade and roof serve as a the graphic identity for the 20,000 sq. ft. building while acting as a veil which reveals and conceals views.The Groove provides an extension to CentralWorld, the third largest mall in the world. At 6,000,000 sq. ft., the mall is comprised of three towers: an office tower, a lifestyle tower (including a gym, dentist and doctors offices, schools, etc.), and a hotel tower. The main shopping center includes four department stores and a convention center. Sited at an existing entry plaza to the office tower, which feeds an underground parking garage, the project came to Synthesis’ office with several structural design constraints. The weight of the addition was limited, causing the design team to incorporate a specific steel frame with a grid coordinated to the bay spacing of the parking garage immediately below grade. Alvin Huang, Founder and Design Principal of Synthesis Design, says this helped save time at the start of the design process. At 20,000 sq. ft., the project, jokes Huang, is “the punctuation on the paragraph.” The design team approached the project with a concept aimed at providing an intermediary space – an “intimate atmosphere” – within Bangkok’s predominant shopping district. Their strategy was to depart from a traditional single monolithic building (more of the same), developing instead an indoor/outdoor atrium space to link a series of buildings inspired by the Bangkok "soi" (Thai for side-streets) for their comfortable café-like pedestrian atmosphere. The building envelope of the Groove peels open to organically reveal openings rather than incorporating typical punched openings. An aluminum composite panel rainscreen system incorporates gradient patterning and integrated lighting to produce an exterior that is “intense, active, and slick” according to Huang. “The skin replicates the intensity of a specular effect of continually pulsating lights along Ponchet Road.” A warm interior spills out to the exterior via CNC-milled timber soffits, whose geometry peels outward, overlapping openings as a sort of exaggerated detailing found in an airplane window trim. The rainscreen panels were CNC milled by a local fabricator who utilized geometry from Huang’s office to produce a custom perforation pattern. “We didn’t want the architecture and the identity to be two different things,” says Huang. “The signage appears and disappears – a gradient that pulses and draws your eye toward openings.” Huang says as an office, Synthesis is generally interested in the relationship between the digital and the hand made. “We are highly digital in our design process. but in Thailand, most construction components are hand made and ultimately assembled by a labor force of limited experience, requiring simplification, not complexity.” Synthesis’ design office focuses on "digital craft" with a body of work that is driven by the relationship between fabrication and the act of making as part of the design process, says Huang. “What we are not interested in is designing, and then figuring out how you are going to make it.” The Groove is one of 37 projects currently nominated for "Building of the Year 2015," a poll open to the public through the end of January, 2016.