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
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. realities:united was commissioned to further develop the conception and the design for this media skin in close cooperation with the architects.
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. Three different scales of bowls are employed and distributed in huge patterns over the total façade, thereby subtly echoing the building’s architectural elements.
Comisioned by realities:united I was asked to develop a specialized operating software 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
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