An Interactive Building That Changes Colors Depending On Your Perspective And Time Of Day

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Founder of Los Angeles-based architecture and design studio Urbana, Rob Ley has yet made another venture into the world of interactive architectural installations. This time large-scale. His project “May-September” features a field of 7,000 angled multi-color metal panels constructed onto the facade of Eskenazi Hospital in Indianapolis.

According to Ley, the project began when he started wondering about the typical notion of the parking structure. Often these huge concrete constructions are unappreciated and ignored by public. Ley posed himself a challenge to turn it into a dynamic system that would interact with the viewers as they pass it by.

Together with Indianapolis Fabrications, they’ve built a huge angular aluminum and stainless steel installation (12,500 square feet) that also features an east/west color strategy (yellow and blue). The visual experience of changing colors and patterns depends on observers’ perspective and speed when they move across the hospital grounds or drive along the street. The piece also interacts with nature as every sun beam or cloud can shape the hues and saturation of colors.

As in nature, the volume and shade offered by the piece shies away from harsh, geometric patterning – instead tending towards a gentle, dappled variability in form <…> [parts of installation] work together as brush strokes to create a dynamic façade <…>.

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Eye-Deceiving Murals Turn Streets Of Iran Into An Optical Illusion Gallery

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Creative murals by designer and street artist Mehdi Ghadyanloo are turning Tehran, Iran’s streets into an outstanding open-air gallery. Executed on two-dimensional blocks of concrete, Ghadyanloo’s artworks deceive the viewer’s eye by skillfully using methods from op art and 3D painting.

Mehdi has established a mural-painting company Blue Sky Painters, which helps him to work with the large-scale street art projects. What is not very frequent in the field, is that Ghadyanloo is fully backed up by the city’s municipality. According to the artist himself, it is one of the government’s goals to promote mural art in Tehran.

“The city is an architectural mishmash with buildings often having only one facade and the other three just left blank and grey. This doesn’t make for a beautiful city but it is a great environment for mural work. I think the municipality really felt the need to bring some cohesion or at least colour to the often confused and smog-smeared architectural face of the city.”

Ghadyanloo graduated from MA in Animation, which brought him closer to storytelling and surrealism. The latter has really influenced his style in urban murals. His scenes often depict unrealistic sights and actions such as cars flying in the air, man bicycling down the wall, people defying gravity and so on. Many of Ghadyanloo’s creations also cleverly interact with their surroundings bringing even more life to the streets of Tehran. (via: My Modern Met)

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Have Fun With Sougwen Chung’s Interactive Animated Font

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Born in Canada, raised in the Chinese tradition, and based in New York, interdisciplinary artist Sougwen Chung has created an interactive, animated font called Kinecdysis that you can experience first-hand here. Recommended for polymaths, poets, and prophets, Kinecdysis is inspired by “the motif of ecdysis (from Ancient Greek: ἐκδύω, ekduo, to take off, strip off).”

Chung’s statement explains, “At the epilogue of transformation, what remains? Ecdysis is the process of shedding or casting off the exoskeleton in invertebrate organisms. As a metaphor for writing, it is in equal parts an assemblage, homage and exorcism of the self in all its prior iterations. It is the verbal vestige that forms the story of our private ecdysis… within it, the narratives that contain the modicum of our memory.”

You can view the entire animated gif alphabet here.

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Miguel Chevalier’s Interactive Magic Carpets

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You may remember when we first featured French artist Miguel Chevalier’s work back in September for his Paris construction tunnel light installation and musical collaboration with Michel Redolfi. Revisiting traditions of Islamic art, namely mosaics and carpets, Chevalier and Redolfi have joined forces again to create a similarly interactive digital/sound project earlier this month at the Sacré Coeur church in Casablanca, Morocco. From April 3-6, “Magic Carpets” transformed the church’s floor into an interactive user interface featuring graphics evolving along with the movements of visitors. The digital light display features generative graphics that multiply, divide, grow, and transform, reminiscent of cellular and organic systems. Visitors’ shadows become a part of the light and graphics display, allowing users to become a part of the installation. The effect of combining organic and digital technologies renders the installation almost psychedelic, enhanced by the accompanying ambient music by Redolfi. To view the installation in action, be sure to check out Claude Mossessian’s video. (via design boom and inhale mag)

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Massive Inflatable Jungle Gym Will Make You Want To Be A Kid Again

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Croatian-Austrian design studio Numen/For Use has built a large string supported jungle gym that is described as a “prototype of a self supporting inhabitable social sculpture.” Known for their large-scale tape and netting installations, “String Prototype” represents the studio’s first “large geometric inflatable object” installation. Thin ropes are tied on opposite sides of the form’s volume, keeping them parallel. When the object is inflated, the ropes are pulled and tightened into a structure that can support multiple human bodies. “Bodies entrapped in 3D grid, flying in unnatural positions throughout superficial white space, resemble Dadaist collages. Impossibility of perception of scale and direction results in simultaneous feeling of immenseness and absence of space.” (via my modern met)

The project is currently installed in the Viennese countryside, where it is still in development.

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Giuseppe Licari’s Public Art Installations

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No matter the type of installation Guiseppe Licari creates, he seeks to encourage direct public engagement in one way or another. For some of his work, he brings natural elements into the gallery space, while other work takes the form of public art. Obviously, most of Licari’s installations should be experienced firsthand, like his ongoing community dinner project Spaghetti Forever, an interactive swing-set Serial Swing, a mobile Illegal Busstopor his education horticulture workshop, Hortus Publicus. Licari’s work is concerned with creating spaces of engagement that reference nature and the built environment. He lives and works in Rotterdam.

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The Performance Architecture of Alex Schweder

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A good deal of contemporary art blends characteristics from disparate practices: sculpture and painting, painting and photography, video and installation.  However, the work of Alex Schweder is a rare mix.  Much of his work is equal parts architecture and performance art.  Schweder investigates the way people interact with living spaces, and the way these spaces interact with their occupants.  The result is often a playfully surprising structure.  Some structures balance or rock depending on the movement of the inhabitants.  Other structures are photosensitive, their inhabitants leaving stronger impressions the longer they linger.  Regardless of the ‘performance’, his work encourages approaching ideas of the home and its occupants as almost a living relationship.

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Interactive Sculpture That Makes Charcoal Drawings

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Artist Karina Smigla-Bobinski in a way treats her sculpture like a living creature.  The piece titled (or maybe named) ADA is a large ball inflated with helium and covered in charcoal pegs.  Visitors are encouraged to interact, even play with the ball thus leaving marks on the walls, floor, and ceiling of the room.  The artist considers the piece not only a sculpture, but really a self-creating artwork.  ADA’s shape even resembles a cell or virus emphasizing the idea of the sculpture creating on its own (with some help from visitors, of course).

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