The entire facade of the Klubhaus St Pauli is divided into three areas. The middle area is made of metal plates that will be controlled according to the content displayed in the LED screens. Another part will be designed as a low-res screen, i.e. with a large pixel pitch to obtain a contrast to the third area, which will have equipped with a high-definition display. ONLYGLASS, a German company specialized in transparent display solutions, is responsible for the high-resolution part, integrated directly into the glass panels of the lift. The resolution will be about 1100 Pixel/m², roughly 50.000 Pixel for the elevator facade.
The use of glass allows a high degree of transparency, both from the inside as well as from the outside. While the lift’s passengers will have a beautiful view of the St. Pauli’s center, from the outside the city will enjoy the visuals of a high-resolution screen, capable of showing videos and pictures. This dynamic façade will become an outstanding example for media architecture in Germany.
ONLYGLASS will present a prototype of the Media Facade at the Media Architecture Biennale 2014. We are looking forward to see their technology!
Detail of the glass.
Video and rendering: Klubhaus St. Pauli GmhH&Co. KG
Detail picture: ONLYGLASS, Phographer: Christian O. Bruch
Challenging questions: How can we make social, environmental and inter-cultural processes visible and use the screens as black boards and visualization zones? What is the impact on the society, when invisible structures that underlie our daily life get visualized? What is the potential to create public awareness?
Call for proposals for the visible city 2015
Our today’s modern cities are hybrid structures in which technology is invisibly interwoven in the perception layers of our everyday lives. With the curatorial theme of InVISIBLE and VISIBLE Cities we want to develop an awareness on the changes which are hardly visible to the eyes and are underlying our nowadays cities.
We call for artistic scenarios to visualise invisible, embedded ‘smart’ urban infrastructures and analyse their impact on the technological transformation of our society in a broad and public discourse.
The initial thriving force behind Urbancult was Agung Geger and his passion for taking and collecting pictures of murals in Yogyakarta. The project started quite informally in 2011, after he met with Andreas Siagian and got some advice from him on how to upload his pictures and make them more accessible for fans and other street-art artists. This gave origin to “A tribute to street-art murals of Jogja”, i.e. a compilation of street art photographs on the personal Facebook account of Geger. Through his Facebook album Geger enterd in contact with artists, as well as with the community interested in the street art of Yogyakarta.
Later in 2011, Ucok suggested that the compilation should be published on their own web-site. This would make the compilation accessible to a wider audience, as the Facebook site was restricted to personal contacts. Geger joined forces with Ucok to publish all the street-art pictures piled up in their database. They began creating an online documentation and a map with the location of street-art works in Indonedia.
In January 2013 Budi Prakosa (Iyok) joined the team, bringing his experience as creative web programmer in DeadMediaFM, a community develop podcast and online radio streaming of Indonesia. With the help of Iyok the team extended the urbancult’s interface to display the location of the murals stored in the database. Finally the Urbancult was officially launched in February 2013, with the support of Agus Tri Budiarto and Adhari Donora. Later urbancult.net joined Lifepatch – a citizen initiative for art, science and technology, and it remains until now a lifepatch driven project. You can visit the project at urbancult.net.
Urbancult’s CreditsScreenshots & pictures: Urbancult.net
The technology was provided by AHL and it was finished in August 2014.
Wuxi tower Credits:
Images: Tac Lion
Media Facade: AHL
He thinks that the field has had a great evolution over the years and he sees the spaces for academic reflection on media and architecture as a great complement for the Biennale. “We have, I think, managed in a very good way to bring the traditional Media Architecture Biennale and introduce a few new things. I think the academic track, the doctoral consortium and the papers are really, -really- a plus for this field”.
The MAB14 promises to be even more interesting as Aarhus will be the European capital of culture in 2017. The city is already getting ready for such an event and the visitors of the MAB14 will have a glimpse into that process. “There will be a really intensive process here with urban installations over the next couple of years”.
The registration for the MAB14 is now open. We are looking forward to seeing you at the MAB14!
The installation was created by atmos and it transforms sound and gesture into an undulating, immersive, luminous environment – specifically designed for the Camden Roundhouse. Its activity is generated by both artist performers and a wider audience, creating a performative stage.
Arboreal Lightning is the central piece of the Reverb Festival of Contemporary Classical Music – a congregation of contemporary composers and musicians, with an emphasis on technological innovation. After the festival, the musician Imogen Heap will modify and use it on her year-long world tour. The installation was commissioned by both the Roundhouse venue and the Reverb curator.
Watch a movie of arboreal lighting…
From the distance the installation appears as bright, blinking light mass, but every pixel of the LED strips can be controlled individually, thanks to a software developed by Leo Villareal. With his laptop he can change the patterns and dynamics of the installation. This mixture of technical and artistic skills fits particularly good in a city full with start-ups, technology wealth and busy programmers.
The Bay Lights was originally conceived by Ben Davis, Chair of the San Francisco-based nonprofit Illuminate the Arts, which aims to support and create outstanding works of public art. Illuminate the Arts’ mission is to produce and promote innovative contemporary art with civic impact, social activation and global reach to stimulate a culture of generosity, community, collaboration and love worldwide.
Watch a video of the light sculpture…
According to him communication and information technologies were optional, and most of the people still had the possibility to opt-out of using them. With the increasing deployment of technologies in the city -as for example media facades- this option is waning and life in the cities is becoming more and more digital.
Such development still needs to be understood with a mix of competences that take into account the architectural aspects as well as the technological challenges related to it. “Media architecture is this wonderful and scary mix of traditional architecture competences, skills and problems – and something completely different.”
For the installation the artists use common scaffolding structures to build a large cube. The external faces of the cube are covered with translucent fabric. In the inside, a number of robotic lights are attached to the main structure in arrays. This set up allows the display of complex geometrical compositions, in which angles, depth, and movement create shapes in space. The the swift movements of the robotic lights create and deconstruct volumes in the air.
Tesseract was first shown at the New Forms Festival 2013 in Vancouver. It has also participated in the Signal Festival 2013 in Prague as well as in the GLOW festival 2013, Eindhoven.
Watch a video of Tesseract