Comments Off on Thursday Salute to Originals: Lite-Brite Reloaded
Each generation has toys that they call their own. Some are fads, only popular for a short period. But others have stood the test of time – think Slinky, yo-yos, Barbie dolls. One toy that has managed to bridge the gap between generations (and continues to captivate anyone with an eye for color and light like a moth to a flame) is the Lite-Brite.
Marketing for the Lite-Brite and its simplistic light box design and glowing colored pegs began in 1967. But here in 2015, its popularity is still quite significant, with many adults remembering the toy with a sense of nostalgia. Capitalizing on the evocation of these memories and the unforgettable visuals created with the toy, Hero Design, based in San Francisco, expanded upon the idea of the Lite-Brite and developed their art piece, Everbright.
Approximately 42 times the size of a standard Lite-Brite, Everbright consists of 464 LED dials (the “pegs”) that illuminate and change color when turned. Formatted in the similar honeycomb arrangement as the traditional toy, there are nearly endless visuals that can be created on this canvas. And after the user has completed their masterpiece, a single click of a button returns the board to a blank canvas (much easier than the tedious task of plucking out each individual peg from the black screen!).
For merging cutting edge technology with a nostalgic concept, we salute Hero Design. And for not only serving as the muse for this artistic reworking, but for also inspiring generations of creatives, we salute Lite-Brite as well. Thanks for lighting up our imaginations and childhood memories, one peg at a time!
In this Impactful Entry Space blog series, we will feature a designer or artist that has created an attention-grabbing design for the main lobby space of a building. Drawing inspiration from completed entry spaces around the world, we travel beyond the image by diving into the design process and concepts behind it.
Today, we feature our interview with Gary Thornton of Neo Light Design about the lobby design of the Four Seasons Hotel Toronto.
GPI Design: What did the lobby space mean to the building as a whole?
Gary Thornton: The Main Lobby’s impressive double height central space serves as a welcome entrance portal and space to the Flagship property for Four Seasons, as well as providing a physical link to adjacent areas. The central lobby feeds to the grand reception desk, waiting areas, and break out seating areas for relaxing near the bar. A central space providing a plethora of options for the guests.
GPI: What were your functional and conceptual goals for the lobby?
Thornton: The lighting was designed to complement both the architecture and the interior design, as well as the overall client vision. This included the expected standard of a Flagship property for the Four Seasons hotel group as the operator.
Simply put, it was to set the standards for luxury hotels in the city and the world.
Careful consideration was taken with the detailing to ensure that our lighting was incorporated into various elements of the architecture and interior design. Hidden light sources were heavily used so that you see the lit effect, and not the light fixtures themselves.
In a double volume height space maintenance of a busy hotel was always going to be difficult and inconvenient. LED and long life efficient light sources were used to ensure that this would be kept to a minimum over the coming years and would reduce any impact on the running of the hotel.
In particularly awkward spaces fibre optic light sources were utilised to provide the illumination at high level to reduce any potential maintenance issues here.
GPI: How did you use specific design tools (such as color, form, materiality, lighting) to create the space?
Thornton: Significant sculptural artworks suspended above the reception and within the centre of the space are carefully lit to bring them to life, highlighting their forms to create depth and interest in the large volume.
A warm white colour temperature was generally used throughout the lobby during the day, with the low voltage AR111 lamp sources warming slightly towards 2700K as they were dimmed on the control system for a more intimate feel during the evening and night.
Large metal screens that help form part of the hotel’s identity are made up of 50,000 individual pieces and lit with both in-ground uplights and downlights to add sparkle and drama.
The screens on the raised platforms that flank either side of the lobby space are lit using linear LED lights hidden within the form that shimmer as you walk through, helping to create the feeling of privacy to the seating areas below.
High efficiency cold cathode is concealed in coves to create an overall softness to the lighting with high output lamps on a timed scene set system being used to then focus on art and various other features within the space.
GPI: What was the biggest constraint in turning this design into a reality?
Thornton: One of the biggest hurdles was ensuring that we were compliant with all of the local codes and varying regulations that are present within Canada. There was a lot of initial concern over which regulations were the exact requirements to be followed, ranging from Canadian (national), through to Ontario (provincial), Toronto (city), or Yorkville (district). National codes set the minimum values for some aspects, whilst some others are superseded at district level.
With a limited budget for light fixtures that was further value-engineered, we worked extremely hard to ensure that we complied with all of the necessary documentation without comprising on the design.
Being able to meet and sign off all of these requirements was a huge milestone for us as the responsible consultant, and for Four Seasons to ensure that the hotel could open on time.
GPI: What makes this space impactful?
Thornton: The fact that it is just the first impression of the wider guest experience. The lobby serves a stunning welcome point, yet offers multiple functions subtly linked together. Carefully considered aspects of the interior design are brought to life with specially focussed lighting, and an automated scene set system ensures that the hotel looks as good as possible at all times. The lighting gradually shifts throughout the day from a bright and airy space to read a newspaper in the morning to a more intimate and ambient space to meet for drinks or dinner.
The lighting extends out from the lobby throughout the rest of the public areas and guestrooms in a similar manner, linking areas and bringing people on a journey through the hotel.
Overall the lighting is a subtle yet important element of the hotel and helps to create the feeling of stylish sophistication that the hotel delivers.
Many thanks to Gary for sharing the inspiration for this lobby design.. Stay tuned to our next Impactful Entry Space interview coming up in two weeks. For more visual inspiration, follow our Impactful Entry Space board on Pinterest.
Comments Off on Thursday Salute to Originals: When Crinkles Spur Creation
In architecture, crumpled pieces of paper have strong connotations that bring divisive opinions on Frank Gehry’s process of designing sculptural buildings. Critics take offense to the hands-off approach that places greater importance on form rather than function. Proponents of this type of process tout it as quintessentially postmodern and reflective of current technology. Whatever your stance on Gehry’s process, it’s probably a strong one. So whenever we see paper-crumpling used as a design inspiration, it piques our interest. And this time it comes in the form of a topic close to our heart… lighting design.
The ethereal Proplamp is shaped like a crumpled piece of paper and is made from biodegradable nonwoven material. Users can change its shape, much like pruning a bouquet of flowers or tailoring an outfit. The interaction is organic and completely dependent on the user’s intervention; creation is made accessible to the masses rather than the lone mastermind behind the design.
Proplamp was developed in collaboration between Amsterdam-based designers Margje Teeuwen and Erwin Zwiers. Margje studied architecture but broke out of the mold by shifting her focus to emotional paintings of free flowing shapes. Erwin devoted his studies to furniture and product design, bringing a strong interest in materials. Proplamp was born as their paths crossed, described as a joining of “the feminine emotional research about paper shape and the masculine attitude of experimentation with new materials” (as quoted by LeFilRouge).
Unlike a Gehry building which most experience from photographs alone, the lamp is at a scale accessible for the general public to add to their homes and work environments. Our biggest conundrum is finding a place to hang this lamp in our office that allows us to reach it for frequent editing – which, knowing the vast personalities and design philosophies of this team, will be essential as casual-turned-intense-debates about its shape are sure to ensue! So for spurring conversation and creative intervention (and for highlighting our newfound need for a custom engineered conference table to hold the weight of our entire team as we debate over the lamp’s shape!), we salute the creators of Proplamp. Happy crumpling everyone!
Creating distinct renditions of our built environment both at specific moments and over periods of time, photography and timelapse video have a special place in the showcasing of architecture. Typically regarded as separate entities, still imagery and motion pictures document the world in completely different formats, each interpreting the subject and its facets in a unique manner.
What happens when the defining elements of these two media – capturing a single, still moment vs. capturing a series of moments in motion – are combined? A visual hybrid is born, redefining our perception of architecture and the progression of time.
Photos of building facades at sunset may seem like a dime a dozen, but the work of photographer Richard Silver is different. Silver’s “Time Slice Global” series depicts changing daylight at world famous landmarks, composed of slices taken at different points in the day and stitched together into a single image. Not only do the images show the shifting day to night patterns of the sky, but also how the architecture fluctuates over time; crowds gather or dissipate and internal lighting becomes more or less apparent depending on the position of the sun.
In essence, Silver’s images present the experience of viewing both a still image and a timelapse video at once, a phenomenon he calls “altered visual context”. We salute Richard Silver for merging those two media into a new expression that can bend time and ultimately create a new lens through which to view our built environment.
As buildings envelopes are intended to be impermeable objects withstanding natural forces, our environment is typically constructed to tightly defend against weather. We seal against moisture in every means possible – from flashing to pitched roofs to storm drains. When water is embraced as a medium for architecture, rather than a force to be withstood, it can entirely shift the meaning of space.
In the Minamo installation, the team at Torafu Architects creates an intimate interior space to “let the water in”. Reflected liquid patterns grace the curved walls, shifting subtly like the motion of the sea. Color is introduced at times, opening up the possibility of the water to carry a sense of materiality.
There is little written about the execution of Minamo project, but that only enhances the mystery. The images convey of a sensation of being wrapped in light or hovering underneath the surface of water, forming compositions reminiscent of surrealist art.
This Thursday, we salute this team of architects for boldly flipping convention to stretch the limits of how water and space can interact. Next time it’s raining or snowing, think about how you can embrace that force as opposed to quickly running for shelter!
As we’ve been scouring our favorite design blogs and websites lately, we’ve begun to notice an emerging trend making its way into art and installations. Not a specific material or design motif, but rather a more intangible and seemingly unharnessable energy. A natural phenomenon in itself, it seems to have not only caught the eye of the design world, but is now being replicated and emulated in various forms inspired by its inherent striking beauty – both literally and figuratively. And that phenomenon/trend is (drum roll please)… lightning.
Simulated Electrical Storm at “Giant Serpentine Pavilion”
One of our favorite examples of lightning-inspired art is the Giant Serpentine Pavilion produced through a collaboration of architect Sou Fujimoto and United Visual Artists. Assembled from hundreds of interlocking steel poles and latticed metal, the structure covers 3800 sq. ft. in an intricately dense, yet openly geometric structure. But while the form and patterns created by the structure are interesting enough in and of itself, the pavilion really comes alive when the lights go down, allowing the thousands of embedded LEDs to pulsate and scatter like bolts of lightning streaking through the night sky. The intermittent and randomized flashing makes this structure seem as if it encapsulates an electrical storm itself, even though the effect is completely simulated.
Simulated Lightning at “Incandescent Cloud” Installation
Another one of our favorites is the incandescent CLOUD by Canadian artists Caitlind r.c. Brown and Wayne Garrett. Using thousands of light bulbs – over 6,000 in fact – activated and deactivated by traditional pull strings tugged by visitors within the exhibit, a randomized flashing effect is created. Not only is this installation interactive, allowing patrons to harness the power of the “lightning” by turning off and on various light bulbs at random intervals, but it allows what would normally be a static installation to breathe new life with every passing patron and crowd. There is no pre-programmed timing or sequence of flashes; the installation ebbs and flows with the visitors; the flashes of illumination are organic, much like natural lightning.
For us, in both of these projects, the most intriguing element is just how authentic this simulated lightning appears. Different structures, different light sources, different forms of control and modes of operation in each, yet both applications elicit and provoke a similar appearance and experience, making you feels as if you are actually watching Mother Nature put on her famous fireworks show.
The Cleveland Museum of Art has a new interactive gallery that combines art and technology to encourage visitors to explore the museum’s permanent collection. This new feature in Cleveland is a source of great excitement here at GPI Design, not only for its use of LED technology, but for its forward-thinking approach to redefining the museum experience.
This innovative gallery space features the “Collection Wall”, the largest multi-touch micro-tile screen in the United States, which presents images of over 3,500 items from the museum’s collection. This 5×40-foot interactive wall features a 23-million pixel display that changes every 40 seconds, grouping works by theme and type (such as time period, materials and techniques) as well as curated views of the collection.
The technology facilitates discovery and dialogue with other visitors and can serve as an orientation experience, allowing visitors to download existing tours or create their own. Multiple users can interact with the wall, simultaneously opening as many as twenty separate interfaces, making sure everyone can explore together.
As visitors depart from the Collection Wall to walk through the museum, a specially designed iPad app called Artlens serves as an interactive map. Intended destinations can be chosen at the main Collection Wall and the iPad will guide you to that specific work within the museum. As you approach each work, indoor geo-triangulation software opens new content within the app, empowering each visitor to connect the collection in a unique way, and creating a more powerful, personal experience.
Every 10 minutes, an application content management system updates the “Collection Wall” with high-resolution artwork images, metadata, and the frequency with which each artwork has been “favorited” on the wall and from within the ArtLens iPad app. These activity metrics enable museum staff to understand what artworks visitors are engaging with, creating a feedback loop within the museum.
As technology and social media become the main tools for sharing content and expressing individuality, we salute the Cleveland Museum of Art for grasping those trends and transforming not only a feature wall, but the entire museum experience.
To present Mayan civilization in a dynamic audio and visual medium, an interactive media installation at the recently constructed Gran Museo del Mundo Maya conveys cultural developments over time. The goal of the exhibit was to represent the Mayan diaspora not as archaeological vestiges, but as a living culture that exists today. Given this focus, video painting and multimedia technology have been blended to evoke Mayan culture in an animated narrative that spans from the birth of our planet, through the history of mankind, to the emergence of contemporary societies today.
The Gran Museo del Mundo Maya building itself, designed by Mexican based firm Grupo Arquidecture (formerly 4A Arquitectos), was designed around Mayan beliefs as opposed to contemporary aesthetic principles. The program was based on the ‘Ceiba’ plant, a sacred tree in Mayan culture. The structure prominently features an oval mass hoisted high above the ground wrapped in green-tinted facade elements that represent the foliage spreading out, protecting and shading the functions underneath.
The exterior of the museum showcases a presentation of images the in the form of an animated fresco on the exterior of the museum. This interactive piece, created in collaboration between video painter Xavier de Richemont and multimedia lighting design firm XYZ Technologie Culturelle, is accompanied by an audio track of ancient and modern sounds. “XYZ’s multimedia installation offers visitors a chance to literally immerse themselves in this symbolic narrative. Sixteen high-definition projectors animate the upper part of the museum façade with a virtual strip that unfurls 34 giant tableaus composed of drawings, photographs, and graphic compositions by de Richemont. A long-range sound system, integrated into the building’s architecture, broadcasts the show’s music throughout the site,” according to Contemporist.
As designers strive to connect buildings to unique contexts and cultures, this project inspires the use of emerging technologies to express those histories. We salute this intersection between modern lighting design, art, and architecture to achieve a rich narrative expression!
The GPI Design team is always interested in creative uses of LED panels, especially when paired with innovative lighting controls. This installation is no exception. The lighting accents in this art installation show that lighting, however understated, can change the experience of installations and artwork throughout the day, creating a welcoming glow in the evening and invigorating a streetscape.
Daily Tous Les Jours, a design collaborative in Montreal, Canada, produced ’21 balancires’ for the 2013 biennale international design fair in Sainte-Etienne. This public installation was available for use in the Quartier Des Spectacles, a high-traffic area in Montreal. Twenty-one swings trigger individual notes while in use and the installation is meant to “explore the notion of collaboration and the positive outcomes which can be a result of working together”, according to the designers.
As users begin to swing in tandem, melodies occur according to which swings are in use and the rate at which users swing. As dusk approaches, the swings illuminate to heighten the sensory experience of its users. The ‘EmpathiCITY, making our city together’ exhibition “investigates the biennale’s theme of empathy… articulated through a series of urban interventions which turn the streets into a domain for democratic expression”, remarked an official.
“The installation offers a fresh look a the idea of cooperation – the notion that we can achieve more together than alone.” — Tous Les Jours and Luc-Alain Giraldeau, a professor at the Université du Québec à Montréal’s Science Faculty.
The motivation behind this wonderful installation is both emotional and inspiring. We would love to see a permanent installation like this somewhere in our area so that we could take “musical breaks”!
Rarely in today’s times do people get a chance to see the stars. Whether it be from city light pollution or simply a lack of time, it’s not often that we gaze into the night sky and peer into the grand play that is the universe. The “Cosmos” lighting simulation by Leo Villareal may not encapsulate the entire universe but it does give us the opportunity to see what’s out there.
The interactive lighting installation, located at the Herbert F. Johnson Museum of Art at Cornell University, was constructed to pay homage to the university’s late astronomy professor Carl Sagan. Composed of over 12,000 LED’s wired in a grid, Villareal programmed the exhibit to display the heaven’s illumination patterns. The software, created by Villareal himself, generates various shapes and forms to create a very unique light show. “It is especially exciting to view the installation at nighttime, when the patterns of light make the ceiling disappear and turn it into a void—light trumping matter,” said Andrea Inselmann, curator of modern and contemporary art at the Johnson Museum.
A zero gravity bench, 25 feet long, was designed by the artist for viewers to fully immerse themselves in the experience and to facilitate a more communal involvement with the installation. “The challenge for me is to find a way to do it that respects what’s here but that adds another layer that can really invigorate the building and make people look at it in a new way.” Said Villareal. The installation measures in at 45’ x 68’ and is mounted on a high ceiling of the Sherry and Joel Mallin Sculpture Court to provide pedestrians clear visibility to observe from below.
The initial development of the exhibition began almost three years ago in November of 2010 when Villareal, along with project architect Walter Smith, AIA LEED AP, and donors Lisa and Richard Baker, collaborated with the Johnson Museum to find a suitable location for the installation. “It’s almost like a musical instrument that you have to tune and get just right,” said the artist. “It’s a process of discovery, because I don’t know in advance what it’s going to be.” In this case, does context create originality?