Goodman Theater Center diciembre 10, 2008Posted by christian saucedo in Media facade.
Tags: Media facade, Media facade - Auto active
Autor. Arq. Kuwabara Payne McKenna
Autor instalación. LD. Rich Locklin & Color Kinetics
Edificio. Goodman Theater Center
Imágenes. Neumann, Dietrich, Architecture of the night : the illuminated building, New York, Prestel 2002 p. 224-225
Vía. Neumann, Dietrich, Architecture of the night : the illuminated building, New York, Prestel 2002
The idea of a lighting design for the new Goodman Theatre Center began woth the building´s owner. Albert Friedman, who wanted an installation that would announced the move of Chicago´s seventy-five-years-old Goodman Theatre into the heart of the city´s North Loop theater district. The new building icorporates the facade of two extisting 1922 theaters, brining with in the old marquee and vertical illuminated sign, which now mark the entrance to the center´s 840-seat poscenium auditoruim. Working closely with a digital lighting company and the architects, lighting designer Rich Locklin turned the facade and entrance for the 400-seat flexible performance space into on of the most animated structures in nighttime Chicago. The forty-by-one-hundred-foot facade is composed of ninety-six individual glass panels and crowned by an elevated, floodlit cornise. Shades behind the panels are each lit by two fixures that use LED an digital technology for a number of special effects. The system can combine red, blue and green LEDs to produce up to 16.7 million colors as well as such effects as fades, washes, and variations in speed and intensity, all of which play continuously from sunset to sunrise. In addition, the glass rotunda on the corner of the building culminates in an oblique crown of LED fixtures, which changes and harmonize with the effects on the facade.
Clearly a descendant of the mobile color lighting effects first seen in the late 1920s and ´30s in such installations as the Kansas City Power & Light Company or Chicago´s own McJunkin building, this design makes use of a technology that is more sophisticated and versatile. In place of colored filters and dimmers, a computer controls all color changes and he illusion of movement, resulting in an installation that is very low-maintenance, energy-efficient, and easy to revise. Locklin plans to set the lights to music, which will be triggered on the hour and will, he notes, turn the facade into the projection screen of a giant color-organ, once again bringing modern technology to an old concept.