All the Time in the World agosto 27, 2010Posted by christian saucedo in Other projects.
Tags: Other projects
Troika was commissioned by Artwise Curators to create ‘All the Time in the World’; a 22m long electroluminescent wall that marks the entrance to the First and Concorde Galleries lounges in the new Heathrow Terminal 5.
Created using a state of the art electroluminescent display system designed by Troika, ‘All the Time in the World’ extends the conventional notion of a world clock, which commonly concentrates on capital cities in different time zones, by linking real time to places with exciting and romantic associations like far-away places, exotic wonders and forgotten cultures.
‘All the Time in the World’ allows passengers to extend their imagination to far distant locations as they enter the Lounges; the great natural wonders of the world, the highest mountains, the most beautiful lakes, the tallest buildings, the longest rivers, ancient cities, museums with untold treasures, dream islands and exotic deserts, thereby subverting the hard function of the traditional world clock into a poetic, fictional tool. GMT, London’s local time, forms the heart of the clock display, and any places west of London are situated to the left of the large clock, and equally, any places east of London are to its right.
Following this logic ‘All the Time in the World’ not only connects the different capitals of the world, but it also celebrates less apparent places including.
• Natural wonders: Grand Canyon, Victoria Falls, Great Barrier Reef
• The highest mountains: Mount Whitney, Elbrus, Kilimanjaro, Everest, Fuji
• Forgotten wonders: Tenochititlan, Abu Simbel, Taj Mahal, Ankor Wat
• Museums: Guggenheim, Louvre, Hermitage, Mori Museum
• Modern wonders: Panama Canal, Eiffel Tower, Sydney Opera House
Design and development
For ‘All the Time in the World’ we developed a new typology of electroluminescent display, called ‘Firefly’, which relies on a custom-designed segmented typeface (patent pending.)
Apart form its incredible thinness (less than a millimetre), our display boosts high aesthetic impact and an extreme versatility in the characters displayed (up to five different fonts can be shown in our arrangement). This modular approach also allowed us to animate the letters as if they were hand written onto the display, a feature that was at the very origin of our research.
The resulting display has unique properties: it doesn’t cast light and disturbing shadow on it’s surrounding, it can be curved, and is extremely competitive compared to other display technologies such as LED if only text is required. Based on a vectorial design, its advantages are all the more noticeable in large scale (like ‘All the Time in the World’) or very small. The technique is transferable to other emerging technology such as OLED, PLED or E-paper. This is the first time that a display system of this kind has been implemented worldwide.
One of the early inspirations for the display is looking at the way technology, and in particular display technologies, seems to systematically strive for the full-colour, full size, full resolution. This approach tends in the best case to create an increasing uniformity among the design of the displays, while most of the time leading to over-specified, under-efficient solutions. This can be seen clearly with the hundreds of power hungry plasma screens used to display simple textual information in airports for instance. To challenge this status quo, we wanted to show how beautiful, unique and efficient a simple text display can be. Another inspiration for us was early electronic display elements such as nixie tubes. There is a kind of magic that operates in those displays, a strong physicality of matter and light, a character that makes them stand out in front of more advanced techniques. Here, with the ‘Firefly’ elements, we tried to bring these sensual qualities into the equation, resulting in a display system at the crossroads of high and low tech. High tech in its use of emerging printed electronic technologies and yet being manually silk screen printed and being restricted to text, letters and ciphers ‘All the Time in the World’ still manages to convey a definite low-tech feel.
After a long collaboration with Elumin8 systems ltd and a wide array of beta testing ‘All the Time in the World’ now stands with 100 Firefly character modules arranged in two rows along with 4 giant (1.6m high) modules for the large London GMT clock. Bespoke electronic drivers have been engineered to control its 7000 segments (an amazingly small number considering the crispness and size of the whole display). Finally, having a power consumption of as low as 700W in total, it is another first for a display of this size.
ALL THE TIME IN THE WORLD,
An Electroluminescent Art Wall for British Airways Heathrow Terminal 5
Credits and acknowledgments
All the Time in the World, 2008, Troika
Curated by Artwise Curators
Manufactured by Elumin8