In the course of refurbishment works ART+COM was commissioned to create a signature art installation for the Departure-Check-in hall of Terminal 1 at Singapore Airport. “Kinetic Rain” is composed of two parts, each consisting of 608 rain droplets made of lightweight aluminum covered with copper.
Suspended from thin steel ropes above the two opposing escalators, each droplet is moved precisely and seemingly floating by a computer-controlled motor hidden in the halls ceiling. The drops follow a 15-minute, computationally designed choreography where the two parts move together in unison, sometimes mirroring, sometimes complementing, and sometimes responding to each other.
Credits Creative Director: Joachim Sauter Design Director: Jussi Angesleva Concept: Joachim Sauter Design: Christian Riekoff, Ben Maus Programming: Christian Riekoff, Ben Maus Computational Design: Christian Riekoff, Ben Maus Project Management: Katharina Vollus Client: Changi Airport Group
images courtesy art+com
"Kinetic Rain" Changi Airport Singapore
Tri is a kinetic installation composed of triangular mirrors that move vertically and rotate around two axes in a complex choreography of flowing three-dimensional structures. Their physical movement is enhanced with ceiling lighting and an interplay between the reflective triangles and the dark, overlapping shadows they cast on the floor.
Tri was produced as prototype for one of the anamorphic logo installations at the BrandSpace of Deutsche Bank, Frankfurt. In 2013 Tri was exhibited at MADE, Berlin. Music: Ólafur Arnalds
The installation Delta Phi is based on the principle of caustics – the way light refracts on water. The chrome-plated surface was computationally designed and 3D-milled. Encoded into its facetsare hidden Greek letters, which become legible in the surrounding room with the help of reflected surface light. Phi is the sign for luminous flux. Delta stands for change and movement.
The piece was produced as a prototype for the "River Is..." installation at the Four Rivers pavilion near Gwangju, Korea. In 2013 Delta Phi was exhibited at MADE, Berlin. Delta Phi is part oft the permanent exhibition of the Swiss Science Center in Winterthur. Music: Ólafur Arnalds
wings of sparkle
Developed by the Japanese designer Tokujin Yoshioka the design “Wings of Sparkle” is an allusion to the famous Swarovski swan with reflected light and artistic designs using sparkling crystals lend wings as part of the concept for the exhibition stand.
As main part a giant facade at 155 metres in size and with more than 253,231 mirror-covered hexagonal reflectors shows a generative computer animation that I have created based on the mood footage of the artist.
Credits Concept: Tokujin Yoshioka Design: Christian Riekoff Programming: Christian Riekoff Computational Design: Christian Riekoff Project Management: Realities United Client: Swarovski
TOKUJIN YOSHIOKA_ SWAROVSKI BASELWORLD
C4 Media Facade
The winning competition entry for the “Espacio de Creación Artística Contemporánea” by Nieto Sobejano Arquitectos proposed the integration of a low-resolution light and media façade on the building surface facing the Río Guadalquivir.
Subsequently realities:united was commissioned to further develop the conception and the design for this media skin in close cooperation with the architects. The starting point for C4 was an analysis of the significant inner structure of the building, which is made up of a tessellated (self-repeating) pattern of polygonal rooms. The inner motif is translated to form a characteristic outer topography on the façade. The surface is made of fiberglass-reinforced cement (GRC) and shows a system of irregular shaped indentations of varying density and size. Those “bowls”, which are geometrically derived from the building’s floor plan, are individually lit to become “pixels” of a large display system.
To transform the façade into a light and media display without fundamentally changing its solid appearance as envisioned by Nieto Sobejano turned out to be the biggest challenge in the project. The façade is accordingly designed to deliver a tactile and solid appearance in the daytime while it turns at night into a unique and dynamic communication wall that reacts very specifically to the architecture. The 100-meter façade consists of 1,319 hexagonal, recessed and pre-fabricated “bowls” on different scales. Each of the bowls serves as a reflector for an integrated artificial light source. The intensity of each lamp can be controlled individually, forming a huge irregular low-resolution grey scale display. The thorough immersion of the “pixel-bowls” – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. During the day, the façade shows a three-dimensional landscape with no sign of being a media facade. Additionally, this tectonically modulated surface topography is characterized by a playful composition of light and shadow that constantly changes with the movement of the sun.
Three different scales of bowls are employed and distributed in huge patterns over the total façade, thereby subtly echoing the building’s architectural elements. Additionally, each bowl appears to be unique in shape and size; and their distribution appears to be irregular. Only the distribution density stays consistent. Analogously to the eye’s retina, this composition allows the definition of areas of varying density or “sensitivity” on the façade. This analogy offers a certain artistic freedom: the resolution of the displayed images can stay low, fitting the blown-up scale of the screen, creating a mode of display in which the motifs are hinted at, rather than unambiguously presented.
The interest in the aspect of “visual acuity” stems from earlier projects and extensive research on the process of visual perception. For visualizations with very low resolution, the precognition of the brain determines whether an image or animation can be recognized. A motif that has been displayed at a higher resolution can be shifted to much lower resolution and still preserve its readability.
In connection with this media art center’s field of work, possibilities of application arise that are interesting for the installation C4. Ultimately, here too, a suitable language must be developed to mediate between the art institution and the city it faces.
Software Part of the project is also a specialized operating software, which we specifically developed for the demands of unique façade display. The main function of this software is to route and to convert any kind of digital image into the special resolution and pixel arrangement of the façade. As it operates in real time this software is an indispensable simulation & preview tool for the creation process or for the selection of artistic content itself. This is, because of its special resolution and arrangement it becomes very difficult to imagine how certain content works on the façade.
C4 Light and Media Facade Design for the Contemporary Art Centre in Cordoba (2012, realities:united)
Exhibited at the Siggraph 2012 Botanicus Interacticus communicates a new capacitive sensing technology called Touché invented by Ivan Poupyrev / Disney Research in collaboration with Jonas Loh / Studio NAND, Philipp Schoessler and Munehiko Sato.
By using a visual illusion achieved by placing a two-way mirror in front of the display, interactive and generative graphics augment living plants and dynamically change in response to the user interaction with a living plant. The custom software enables to set specific anchor points on splines matching the shape of the plant. The particles move from this spline creating an aurora like impression. A range of real and artificial plants such as bamboo, orchid, cactus and snake plant were explored, where each plant presented its unique interactive and visual character.
The exhibition was developed in collaboration with TheGreenEyl & Christian Riekoff
Botanicus Interacticus at Siggraph 2012
Transformer is a free project a large scale generative visual combining dynamic displacement and realtime particle simulation. Parameters are blended in a defined value space randomly and create unique transformations. A gpu particle system allows the realtime animation of nearly half a million triangles attached to a dynamic grid. The strength of the different forces of the animation can be manipulated to shape different visuals.
One Berlin Traffic
Commissioned by Art+Com I worked on the kinetic logo, a kinetic sculpture based on 48 mobile triangles forming the diagonal of the deutsche bank logo . The triangles can move vertical and skip over two axes. This way they can be used to create complex choreographies forming floating three dimensional structures. Next to this physical motion is a dynamic projection on the triangles. By using the ropelengths of the triangles a distorted projection and a dynamic mask directly matching the moving triangles are calculated. Based on this concept by Joachim Sauter I have been commissioned to develop a software system allowing to create various choreographies including movement of the triangles, projection and lighting. Using this software I created the final playback concept and the final choreographies.
I developed several parametric modules that allow complex dynamic choreographies. For the projection I developed four realtime parametric visuals based on physical simulation or fractalized dynamic meshes interacting with the triangles. To author the final choreographies I developed a modular timeline that is directly linked to parameters available by the application. Every of the four final themes consists of free motion where there is only the moving triangles that are dynamically lighted and a projected part where the triangle movement is reduced.
Credits Creative Director: Joachim Sauter Design Director: Eva Offenberg, Petra Trefzger Design: Christian Riekoff Programming: Christian Riekoff, Sebastian Heyman Computational Design: Christian Riekoff Project Management: Gert Monath Client: Deutsche Bank
images courtesy art+com
Kinetic Logo at Deutsche Bank BrandSpace Frankfurt
For the centerboard I was asked to develop a generative visual based on lines. Here one can navigate through facts of the history and presence of the bank using a sensitive multitouch surface. Displaced lines form an abstract animated landscape, touching the senstive surface causes a deformation of the lines. The contant blends smoothly out of the lines inform of an overlaying blended displacement.
Using current graphics cards and gpu computation I was able to create a high resolution image running smoothly on one computer covering a projection of 4 x 1920 x 1200 pixels. In the next step I developed several prototypes of interaction and content integration to a first working prototype. From here I attended the further development to the final application by another developer.
Credits Creative Director: Joachim Sauter Design Director: Eva Offenberg, Petra Trefzger Concept: Eva Offenberg, Petra Trefzger, Christian Riekoff Design: Arne Michel, Eva Offenberg Programming: Christian Riekoff, Robert Chudoba Computational Design: Christian Riekoff Project Management: Gert Monath Client: Deutsche Bank
images courtesy art+com
Commissioned by art+com I developed the computational design and final application for a media installation the german salt museum in Lüneburg.
„Salt Worldwide.“ vividly tells the story of the salt around the world by simulating a virtual world made out of salt. There are 34 touch sensitive salt crystals spreading over the map highlighting salt concentrated areas in the world. According to the amount of salt located in these regions, millions of salt particles emit continuously over the world map, slide down along the mountain ridges, then diffuse and flow along the currents in the seas.
When touched the crystals start to glow. From underneath the crystal grains of salt pour over the table and merge into an information window, which dis- plays details of the chosen salt mine through text, images and movies.
In a 10 minute long guided mode, the tour guide explains the salt production, consumption, usage, and other relevant topics. Each topic is explained by a dynamically generated animation; e.g. he salt particles that formed the tower Taipei 101 to symbolize daily amount of salt production worldwide transforms into a path between Brazil and Japan to represent salt trade routes between countries across continents.
Credits Creative Director: Hermann Klöckner Concept: Hermann Klöckner, Christian Riekoff, Jing He Design: Arne Michel, Christian Riekoff, Jing He Programming Computational Design: Christian Riekoff, Jing He Project Management: Gert Monath Client: Deutsches Salzmuseum Lüneburg
images courtesy art+com
Salt Worldwide, Luneburg 2010
work meaning and worry
On behalf of ART+COM I have developed six interactive media stations and one generative projection as part of a statistics strip for the exhibition “Work. Meaning and Worry”. The media stations with projections are integrated into the strip, where visitors can change different parameters by turning knobs and thus retrieve various data.
Credits Creative Director: Joachim Sauter Concept: Eva Offenberg, Christian Riekoff Design: Eva Offenberg Programming and Computational Design: Christian Riekoff Project Management: Gert Monath Client: Deutsches Hygiene Museum Dresden
images courtesy art+com
Statistics strip, Dresden 2009
In the level green exhibition part of the Volkswagen Autstadt , visitors can learn about the consequences of climate change, the importance of sustainability for the economy and society, mobility concepts for the future and Volkswagen’s specific approaches towards sustainability. Covering about 1000 square metres, the exhibition space is divided into six themed areas.
I took part in the development of 4 of 25 media exhibits, offering various various starting points to actively engage with the topic and discover practices that each individual can adopt for sustainable development. The 4 interactive media walls I worked on unravel comprehensive themes and enable playful access to data via touching. After getting an overview, visitors can decide how deep they want to delve into the topic.
The ecological backpack explains the ecological impact of different products. I developed the computational design for an existing concept and the final application. For the application I created a physical simulation to animate the different sphere representing the ecological weights of the products. To achieve a depth look I created several shaders for lighting, fog and shadows.
The utopiastream shows different possible developments in future mobility and lets the user decide how useful it might be. The different utopias build a stream containing the images of each utopia. For this media wall I codeveloped the concept and created the computational design and the final application. For the animation I created a custum GPU particle system allowing a simulation of nearly half a million particles.
Powertrain and Fuel Strategy
This media wall informs the users about the different existing engine and fuel strategies and reveals the dependencies between them. For this installation I was responsible for the complete development from concept to the final application.
Effects of climate Change
Explains the climate change change by various maps shown on a freely na- vigatable globe. Eleven high resolution maps explain the climate change by illustrating its causes and effects. Regional examples inform the user on the problems that the climate change will have on real life. For this mediawall I was responsible for application development and computational design.
Credits Creative Director: Monika Hoinkis Concept: Eva Offenberg, Jens Ove Panknin, Christian Riekoff Design: Eva Offenberg, Jens Ove Panknin Programming Computational Design: Christian Riekoff Project Management: Regina Tetens, Helge Dieck Client: VW Autostadt
images courtesy art+com
Level Green - Interactive exhibition staging
On behalf of art+com I developed four motifs for the mediatecture of the bmw museum. The motifs are based on photos and animated typography.
images courtesy art+com
Project No 8
All lights inside Project No. 8 are turned off after hours. Only a person passing by or stopping in front of the windows activates a hidden sensor. The sensor starts one of 7 different light pattern which all follow different rules but are completely generative and thereby different. ATEM light installation is not added on to the existing structure or architecture. It uses the existing fluorescent lights of the existing space.
The ATEM light installation is designed by the Berlin Architect and light artist Christoph M Wagner. I have developed and designed the light patterns and build the control hardware based on an arduino microcontroller. The lights are controlled by dmx which is translated to the standard DALI protocol and controls the dimmable ballasts of each T8-fluorescent light fixture. The dmx to dali conversion has been realized by konzeptlicht
Credits in alphabetical order Concept: Christoph Wagner Design: Christian Riekoff, Andreas Schmelas Programming: Christian Riekoff Project Management: Christoph Wagner Technical Support: Gregor Sgonina, Konzeptlicht Client: Project No 8 New York
atem light installation
Flightplans in pdf format of the 3 big airline networks have been parsed into a database and visualized by mapping the flights on a virtual globe based on there time and position. The result shows the main traffic areas, change of the flight densities according to the current time and reveals interesting patterns in the daily flight traffic.
tree accesses the source code of a web domain through it’s url and transforms the syntactic structure of the web site into a tree structure represented by an image. this image illustrates a tree with trunk, branches and ramifications. first each tree is initialized, than all html links are detected, chronologically saved and finally displayed. the first tree corresponds to the domain; according to the syntax of the web site each further tree that builds up represents a sub page including all existing elements. the color of these trees reflects the color values of the domain and its sub pages.
parallel to the graphic conversion, a permutation of the source code into midi data is generated analogous to the evolving trees, their branches and ramifications. any midi compatible hard- or software can be triggered by these midi data. the structure of any url can be visualized and transformed into sound. the aesthetic is not arbitrary or accidental, rather each url/domain determines the variation of trees in form and color.
tree is a translation program. the simulation of real space by software as a starting point and basic question characterizes the search for an algorithm (design specification) which illustrates a real tree. tree interprets each html page as a design specification; the html space determines the algorithm and generates the visual world of the translation beyond simulation. tree has been exhibited at the club transmediale berlin and the sonar matica in barcelona.