Wednesday, September 21. 2016
Note: I would definitely like to do the same (or a bit differently with I-Weather --we almost did back in 2012 during 01SJ in San Francisco in fact, but we were missing a bit of light strength compared to the space--)!
The artist Liz West continues inventing original and psychedelic installations, this time as part of the Bristol Biennal. Her project Our Colour is composed of filters that allow the lights to change and is a good way to study the reactions of the human brain when confronted to certain luminous atmospheres. After travelling through all the shades, each person usually ends up enjoying his or her favorite one.
Tuesday, August 02. 2016
By fabric | ch
As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 07.2016), via all its tags!
HERE ARE ALL THE CURRENT TAGS TO NAVIGATE ON | RBLG BLOG:
(to be seen just below if you're navigating on the blog's page or here for rss readers)
Posted by Patrick Keller in fabric | ch at 16:58
Defined tags for this entry: 3d, activism, advertising, agriculture, air, animation, applications, archeology, architects, architecture, art, art direction, artificial reality, artists, atmosphere, automation, behaviour, bioinspired, biotech, blog, body, books, brand, character, citizen, city, climate, clips, code, cognition, collaboration, commodification, communication, community, computing, conditioning, conferences, consumption, content, control, craft, culture & society, curators, customization, data, density, design, design (environments), design (fashion), design (graphic), design (interactions), design (motion), design (products), designers, development, devices, digital, digital fabrication, digital life, digital marketing, dimensions, direct, display, documentary, earth, ecal, ecology, economy, electronics, energy, engineering, environment, equipment, event, exhibitions, experience, experimentation, fabric | ch, farming, fashion, fiction, films, food, form, franchised, friends, function, future, gadgets, games, garden, generative, geography, globalization, goods, hack, hardware, harvesting, health, history, housing, hybrid, identification, illustration, images, information, infrastructure, installations, interaction design, interface, interferences, kinetic, knowledge, landscape, language, law, life, lighting, localization, localized, magazines, make, mapping, marketing, mashup, materials, media, mediated, mind, mining, mobile, mobility, molecules, monitoring, monography, movie, museum, music, nanotech, narrative, nature, networks, neurosciences, opensource, operating system, participative, particles, people, perception, photography, physics, physiological, politics, pollution, presence, print, privacy, product, profiling, projects, psychological, public, publishing, reactive, real time, recycling, research, resources, responsive, ressources, robotics, santé, scenography, schools, science & technology, scientists, screen, search, security, semantic, services, sharing, shopping, signage, smart, social, society, software, solar, sound, space, speculation, statement, surveillance, sustainability, tactile, tagging, tangible, targeted, teaching, technology, tele-, telecom, territory, text, textile, theory, thinkers, thinking, time, tools, topology, tourism, toys, transmission, trend, typography, ubiquitous, urbanism, users, variable, vernacular, video, viral, vision, visualization, voice, vr, war, weather, web, wireless, writing
Saturday, November 23. 2013
fabric | ch, Satellite Daylight, 46°28'N @ Haus für elektronische Künste | #architecture #interaction
For our own documentation, published a year ago in the context of the exhibition Sensing Place at the Haus für elektronische Künste in Basel, the video is a short presentation of Satellite Daylight, 46°28'N.
Friday, March 08. 2013
Via It's Nice That
Posted by Ross Bryant
Carlos Crus-Diez: Chromosaturation
We all love a bit of colour in our lives, right? It’s the spice that can turn the drabbest of life experience into a wealth of vivid wonder, taking the ordinary and making it extraordinary. Carlos Cruz-Diez has been exploring the kinetic movement of colour in his celebrated works, creating interactive manufactured chambers that lures visitors to rethink their perceptions of colour in their everyday lives.
The installation works in a very personal way, altering the colour of your skin, clothing and anything you so happen to be carrying on your person. It culminates to create an experience that adapts depending on what chamber you emerse yourself within, drawing attention to the individual experience of processing colour through a disruption in the way that light is received and understood.
These wonderful installations have been developed over many years, and can be explored at the Musée en Herbe en in paris and the Museo universitario arte in Mexico. But if you can’t make it to these, feast on some images and live your life through a spectrum of colours that can only add a richness to your imagination and a smile to your face.
Carlos Crus-Diez: Chromosaturation
Friday, January 18. 2013
INABA has completed Skylight, a permanent installation for KORO Public Art Norway. The 6.6 m (22 ft) diameter, 11.5 m (38 ft) long structure hangs from the foyer of the New Concert Hall in Stavanger, Norway. It is visible from the adjacent public plaza, and surrounding neighborhood and harbor, serving as a light beacon for the complex. Responding to the region’s extreme atmospheric conditions, Skylight emits a range of pure color light patterns that contrast and complement the blended luminous tones of the dawn and twilight Nordic sky. Conceived of as an inverted chandelier, Skylight’s light fixtures are mounted to face inward and illuminate the structure’s interior surface. Its programmable LED system is animated to change in brightness and hue, and produce distinct patterns during arrival, theater calls, intermission, departure, and after hours.
Skylight is based on a simple cylinder. Areas along the surface of the cylinder were removed to create views from the five-stor.
Tuesday, December 18. 2012
NASA plans a new weapon in the fight against space insomnia: high-tech light-emitting diodes to replace the fluorescent bulbs in the U.S. section of the International Space Station.
About half of everyone who flies to space relies on sleep medication, at some point, to get some rest. For $11.2 million, NASA hopes to use the science of light to reduce astronauts' dependency on drugs.
According to NASA flight surgeon Smith Johnston, studies in Anchorage, Alaska showed that hospital staff made more medical errors during the darkest times of the year. The finding demonstrates that people have a day-night cycle that must be respected, even when they're doing the demanding work of space exploration.
"When you have normal light coming through the windows of stores, and schools, and hospitals, people do better. They function better," said Johnston, the lead physician for NASA's wellness program. [Video: Do Astronauts Dream of Weightless Sheep?]
Tough sleep in space
Sleep is no trivial matter in space. Astronauts generally get about six hours of shut-eye in orbit despite being allowed 8.5. Demanding schedules and unusual environments are among the factors that cause insomnia.
"The station is noisy, carbon dioxide is high, you don't have a shower, there's a lot of angst because you've got to perform. Imagine if you have a camera on you 24 hours a day," Johnston said.
Over time, sleep deprivation can cause irritation, depression, sickness or mistakes. Any of these problems can be dangerous in the close, confined, pressurized quarters of the space station.
In an effort to address the problem, NASA plans to replace the orbiting laboratory's fluorescent bulbs with an array of LEDs switching between blueish, whitish and reddish light, according to the time of day. The changes can be programmed in by the ground, or the astronauts. The new light bulbs are due to be swapped in by 2016.
Blue light stimulates the human brain best because people evolved to respond to the color of Earth's sky, experts say. When an astronaut's eyes are exposed to blue light, his or her body suppresses melatonin, a sleep-inducing hormone. Blue also promotes the formation of melanopsin, a "protein pigment" that keeps people awake.
In simple terms, the color red reverses the process. Melatonin increases, making the astronaut sleepy, while melanopsin is suppressed.
"You can dial in a natural day-night cycle on the space station" with the new light arrays, which are being developed by Boeing, Johnston said.
It should work well, he added, unless astronauts look out the window at bedtime. They then run the risk of confusing their body clocks by exposing their eyes to natural sunlight reflecting off of Earth.
Technology can go only so far in solving sleep problems, Johnston said. This is why NASA prescribes good "sleep hygiene" for its crews before and during spaceflight.
Medications are used only as a last resort, and are tested extensively on Earth by each crew member. In case of emergency, astronauts must awaken easily even during the deepest stages of sleep.
The astronauts also get practice sleeping under difficult circumstances by virtue of their demanding preflight schedules, which include flights to Russia and Japan for training.
NASA works with the astronauts to minimize jet lag. Techniques that help for each crew member, such as wearing sunglasses on the plane and taking medications at a certain time, can then be used in orbit.
Groups on Earth will benefit from the research, too, especially shift workers or travellers fighting jet lag, Johnston said.
"Hopefully, we'll have spinoffs that other doctors can use, and the military can use for their flight surgeons."
Of course, it makes me think (a lot!) to the 3 projects we did back in 2010 (I-Weather as Deep Space Public Lighting) and with Philippe Rahm architects in 2009 (I-Weather v.2009) and 2001 (I-Weather).
Tuesday, December 11. 2012
By fabric | ch
Gradientizer is an architectural proposal for the New Planetarium and Natural Science Center buildings and program in Lausanne, Switzerland. It consists in the transformation of an old, almost rural and isolated settlement and the adjunction of two new buildings.
The proposal was completed early this year and was developed in close collaboration with Madrid based architects AMID.cero9 (Cristina Diaz Moreno and Efren Garcia Grinda, both also teachers at the Architectural Association in London).
We didn't win the "trophy" unfortunately, but as we believe nonetheless that the project is of interest, we take the opportunity to document and shortly present it on | rblg.
Gradientizer (excerpts from the competition text)
An architecture that articulates light, that pervades into the existing luminous gradients and albedos of the site, that transforms them on site, in plan and in section and which creates "dark poles", real "attractors" of the program: Planetarium, Solar room, Sky observation deck. A forgotten atmosphere, "almost unknown", but monitored nevertheless, built around the exposure of the program to light, in which visitors and scientists freely wander, layer by layer.
Monitored architecture of light gradients and albedos
The observation of the sky, by daytime and nighttime, is always marked by an intimate relationship with weather and light conditions. To make accessible the cosmos from Earth with the naked eye as through a powerful telescope, special conditions are needed: minimum cloud cover, low atmospheric density, maximum distance to the sources of artificial light at night.
Would we realize today a world map of the suitable observation locations, in continuous time, it would likely reveal a landscape in a vanishing phase, a kind of forgotten preindustrial relic. A sensual landscape that evolve along days and seasons: clear sky, starry dark night, low pollution, near low reflectance (albedo) lands.
It is this landscape, which has become almost unknown nowadays, that makes possible the observation of another one, fascinating and borderless: the cosmos. It is also precisely around this landscape that our project is built: a "gradient" architecture that seeks to analyze and transform the light patterns of the place, to inhabit them, which looks to generate and shape this "unknown landscape" and to comment it.
Expression of the light gradient on site at night (top image, the road axis are artificially lit, the rest of the site is dark --woods and grass land-- with the adjunction of a courtyard in the new project on the left image) and relation bewteen surfaces and albedo of surfaces (bottom image).
However, the site of the New Planterium has a light gradient of its own, with varying intensities: artificial illumination of roads at night, large farm like roofs that generate darkness during the day.
The project seeks to leverage this existing state, to develop it, whether it be in the positioning and association of functions in an almost generative way (rule based) or in the amplification of the roofs of the buidlings: to "gradientize" the overall site through its architecture.
To "gradientize" the site
Articulated around 4 main categories of exposure to light ("fully", "mostly", "partly" and "not at all" exposed), the program is distributed around the matching gradients of light on the site to achieve the initial distribution of functions. In section, this gradient is reinforced in order to create permanent "black areas" and to further distribute the program vertically.
Expression of the light gradient on site and on the buildings (average value between the exposition to natural or artificial luminosity and the albedo of the surfaces).
White zone (fully exposed to light) along the roads axis, in the courtyard and around the ground levels that evolve toward the black zone (not exposed to light) on the east of the site and in the upper levels (roofs), through light grey (mostly exposed) and dark grey (partly exposed). The gradient on site serves us both as a way to locate functions and to choose materials or landscape treatments (according to their reflectance - albedo).
The program (surfaces, volumes and functions) of the New Planetarium and Natural Science Center dispatched according to its potential exposition to light, with the same 4 levels (fully, mostly, partly, not at all) as expressed on site.
Schematic rules in plan and section to increase and deform existing lighting conditions (both natural and artificial): "onion" rings that filter light from the outside toward the inside in plan, suppression of basements that are moved into bigger roofs to progressively create drakness from botton to top levels.
Three main rules allow us to organize in this way the whole program of the New Planetarium and to outline its architecture. At night and in mass plan, the luminosity and reflectance gradient of the site evolves from lit perimeters, near traffic areas and roads, to dark areas towards forests and grassland (on the east part of the site, guaranteed to be kept in the future due to the reallocation of the whole area into a protected green park). The repartition of activities and functions on the site results mainly from this first rule (the program analysis based on its exposition to light). Thus, no artificial light is directed towards the east and south of the site at night. In plan, again but inside the buildings this time and mainly during day time, a concentric organization of volumes allow to filter and lower the light from the outside toward the inside. In section finally, during day time especially, large and deep roofs of agricultural characteristics also ensure the creation of shadows and darkness. No artificial lighting is installed in the dark grey or black areas.
The resulting axonometry of the project and principles of spatial organisation/uses according to the chosen set of rules.
This approach makes it possible to define principles of spatial organization, by day and night. This is the intention of the project: an architecture that fits into a monitored gradient of light proper to the site, which exploits but transforms its vocabulary of forms and materials, which deforms, amplifies and strengthens them, both in plan and section. These principles engender our architecture of spatial shifts, its main code. The result is the GRADIENTIZER.
Planetarium, solar room, museum, hotel and eco-shop: ground floor plan and planetarium section, where the principles of organization in plan and section are applied.
Probes, sensors, monitoring, feedback loops and algorithms
A set of light and atmospheric probes equip the site and the interiors of the buildings. They are positioned so to reveal in first sight the average gradient on the site and to locate specific areas for the public (white, light grey, drak grey and black masts at different heights equiped with sensors that are positioned along the main lines of each gradient). Some also serve as furniture or lighting (white areas). These sensors continuously analyze the state of illumination of the Gradientizer and reveal it through freely accessible interfaces (both on site information displays, distributed over the Internet or through mobile apps) and feedbacks.
This constant analysis transcribes in "real time", along time and seasons, the variable state of a large architectural device based on simple rules (the exposition of the program to --monitored-- light). Custom and architectural algorithms indicate appropriate times to achieve a particular observation, shift of functions or activities in a conducive area.
The position, orientation and design of the probes, made out of 4 different heights and that are coated in white, light grey, dark grey and black, reveal a first vision of the site's light gradient and surfaces albedo to the naked eye. They also serve to locate different activities (observation in the potential dark areas, public program in the white ones).
Darker than black (meta-material)
The upper levels of the new roofs (around the observation decks) are treated like “darker than black” meta-materials (see below), instead they are scaled about 10 billion times: a spiked surface within which incident lighting is getting reflected many times, loses its strength before eventually getting out. It can be considered as a similar process as what is happening in an anechoic chamber, but in this case for light instead of sound.
“Darker than black” metamaterials are nanoscale materials (that could also be used as coating) that trap the reflexion of light through very dark spiked surfaces. Therefore, the incident light is reflected a lot of time (at a tiny scale) before eventually getting out again. The light is "sucked" by the material and much less of it is reflected (only 1%).
Architecture as shifting landscape
The whole Planetarium and Natural Science Center can be seen and experienced as a light based architecture - landscape in constant evolution. It offers therefore oscillations, unpredictable spatial and uses variations. It suggests some sort of nomadic and evolving uses over time to adapt to the varying conditions.
A landscape that should be understood here in the sense of an environment with blurred limits, within which one can evolve with a certain freedom according to ones desires or needs. A landscape that "feels" its own variations and makes them visible, livable.
Location: Lausanne, Switzerland
Team, fabric | ch: Patrick Keller, Christophe Guignard, Sinan Mansuroglu, Nicolas Besson
Team, AMID.cero9: Cristina Diaz Moreno, Efren Garcia Grinda, José Quintanar, Vicente Soler, Laura Migueláñez, Pei-Yao Wu
Partner: Computed·By (coding creative projects)
Monday, October 15. 2012
de Dylan Schenker
Rafeal Lozano-Hemmer is largely known for his large scale installations that invite audience participation. An extension of this participation is also how he takes elements of physical interaction and gives them digital or technological corollaries. His latest show at Bitforms Gallery is no different. Although, ironically, rather than taking something inherently physical, it takes the more ephemeral qualities of the human body and extends their lifespan
Thursday, July 12. 2012
Via Creative Applications
Now in its 22nd year, the Saatchi & Saatchi New Directors’ Showcase hit Cannes again, unveiling another presentation of the new directorial talent. Marshmallow Laser Feast (Robin McNicholas, Memo Akten and Barnaby Steel) were the creative and technical directors of the production which included a theatrical performance by 16 flying robots reflecting light beams on the stage. CAN got the all the details on how this mesmerising performance came into being.
Although that it's branded (Saatchi) and in a typical "communication style" (the infamous "wow" effect of some marketing staff), the performance remains technically impressive. Especially the work of the robotic guys (KMel Robotics). A good address for future works!
Wednesday, April 11. 2012
Taken out from this article on Domusweb, we just liked this image of a speculative "mutant glowing weed" that would grow under the permanent light of an overilluminated (green led based) pharmacy sign. A "pharma weed". As the group state "So much light emanates from the new led based crosses, that the environment that surrounds each pharmacy is permanently tinted a deep, vibrant and unnatural green color".
Based in Madrid, the group tries the point with its pop-up installation that "of all the environmental pollution that can be found in the city of Madrid, the most evident is light pollution. This overillumination is evident to the naked eye at a distance of more than 200 kms and produces a glow that can be seen with a medium-size telescope for more than 700 kms."
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fabric | rblg
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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