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Video Mapping // máscaras digitales agosto 11, 2011

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photo: Mapping Festival 2011 @ Fonderie Kugler

Christian Saucedo

Ante la casi inabarcable lista de proyectos que en los últimos años exponen el uso de las superficies como lienzos útiles para el desarrollo de efímeras composiciones visuales, el concepto de video mapping representa en la arquitectura media una de las técnicas de  videoproyección más recurrentes para la formación de un contenido digital que además de lograr asombrosos espectáculos de luz inmersos en un carácter cinético, su discurso cuestiona conceptos relacionados al potencial simbólico, de significado y permanencia que hasta hace poco la superficie arquitectónica había logrado conservar.

No cabe duda que el uso de estas expresiones que aparentan transformar la composición formal de un revestimiento, experimentan la adopción de un espectáculo visual que se expresa indiferente a la tradición tectónica de la envolvente, al promover en esta, el distanciamiento a la “permanencia” resultado del uso de condiciones revolucionarias expuestas por la composición de un diálogo dinámico semejante a un tatuaje efímero que se dibuja y desvanece al borde de una piel.

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SKY TV by BLDG BLOG abril 17, 2010

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[Image: From the series Cloud Projections by Blake Gordon].

Photographer Blake Gordon has been documenting the geometric effects of light pollution in Austin, Texas, capturing thinly defined shapes in the clouds, projected upward from the tops of buildings.

It’s an accidental ornamentation of the city sky – or what Gordon calls Cloud Projections.

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Experience as Material marzo 15, 2010

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Photo: Foghorn Creative’s branding videos for Victory Park were designed as works of fine art. They are essentially indistinguishable from the artists’ work displayed in the Victory Park collection.

Experience as Material: Transforming Architecture into Communications Media

Don Richards

New developments and innovations create unique opportunities for each generation of architects. One of the most significant developments of our time, digital display technology, has literally changed the face of architecture. Media has become a vital material.

The emergence of “experience” as a material began in the theater. Set designers (many trained as architects) such as Mark Fisher in Great Britain and Jerome Serlin in the United States began using integrated, panoramic projection to create image-driven spaces in the 1970s. A seminal event in the public conscience was Pink Floyd’s 1980 production of The Wall Live, which merged engineered architectural forms with dramatic, filmic storytelling to create something new and remarkable. These evocative theatrical environments created their own inertia, and soon every major rock tour, theme park, and Broadway show seemed to have “spectacular” visual effects.

Today, the image surface has become part of our daily context at every level (take a look down at your phone). In the architectural world, the primary driver behind image surface has been marketing and sales. Urban media structures, by their sheer scale and proximity, provide a powerful means to communicate and sell. In many cases the designs have been little more than 3-D billboards, but as the public grows more discriminating this has begun to change.

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Communicating Through Architecture febrero 23, 2010

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Communicating Through Architecture: Media Facades and the Digital Infrastructure

s.a.johnson

In Times Square, 1996, the first media facade is erected. At 1,000 square feet the screen now pales in comparison to the likes of those found in Seoul, Tokyo and even newer construction in Times Square. This technology, once limited to the United States, can now be found in nearly every metropolitan area worldwide and has become a symbol of a country’s power or a company’s position in their industry. While media facades are the billboards of the digital infrastructure, the layer extends so much deeper reaching into nearly every aspect of our daily lives. The proliferation of media facades, similar to that of cellular phones, PDAs, Bluetooth technology, laptop computers, and GPS technology is often dismissed or simply goes unnoticed, yet these devices allow instantaneous connection and relay of information with other people almost anywhere in the world. This is a feat found only in science fiction just 25 years ago. As the world becomes more and more connected, questions about sense of place and “here” are raised. Issues of this nature add additional challenges to the architect’s burden of creating powerful, place-specific architecture.

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Media Façade: A new form of art in architecture febrero 1, 2010

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Media Façade: A new form of art in architecture

Nora Schmidt

Abstract

The term Media Facade is often associated with over-dimensional screens and animated, illuminated advertising, and places like Times Square, the Strip in Las Vegas and Hong Kong are trailblazers for this media architecture. The façade itself is dematerialized and turned into one huge advertising medium for sending messages. At the onset of dusk the building moves into the background and serves only as a backdrop for the light show which then becomes the main attraction. Media facades can evoke the most diverse emotions, from a big city feeling to annoyance at light pollution. They are also seen as tourist attractions, Pop Art or as eye sores.

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Media Facade enero 2, 2010

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Els Zijlstra

Abstract

For advertising, art, or the corporate message: the facade increasingly plays a role as attention getter. In the past years we witnessed the emergence of facades containing photo prints, texts and poems, abstract images or variable translucence. All instances of a rather static form of communication.

However, these facades are merely the beginning of a new development. The facade of the future communicates interactively. Using movement, color and light. The facade as interactive communication tool.

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Interpreting urban screens noviembre 24, 2009

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Interpreting urban screens

Anthony Auerbach

Abstract

Large-scale video screens in urban settings suggest new possibilities and challenges for city authorities and regulators, architects, advertisers and broadcasters as well as for cultural curators and producers. While this potential remains largely untested, it is clear that urban screens establish new sites for the negotiation between commercial, public and cultural interests. This paper takes a critical approach to the question of defining the role of culture in urban media, highlighting the shifts in the relations of representation mediated by video and the complexity of the urban media environment.

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Façade Lighting: A Fork In The Road? diciembre 15, 2008

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York Art Gallery

Source: ARCHITECTURAL LIGHTING Magazine
Publication date: June 1, 2007

By C.C. Sullivan

Today, façade lighting design strategies seem to follow two diverging paths: One emulates the work of nature—the moon and the sun—while the other embraces the possibilities of latter-day technology. For any given project, a lighting designer tends to operate with either a “naturalist” or a “technologist” mindset, though the approaches can overlap considerably. In the best cases, each hopes to imbue the building with not merely skilled illumination, but a higher level of meaning.

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LED Electronic Message Reader Boards agosto 25, 2008

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LED Electronic Message Reader Boards: Watching the world go by in streaming headlines

Louis M. Brill

The electronic message reader board is the town crier of the modern age. It is a simplistic, horizontal column of light bulbs or LEDs whose intermediate flashes of world watching headlines, slide effortlessly across reader board signs attached to banks and financial institutions and to the front walls of major corporate headquarters.

Times Square is where the reader board was first introduced and now contains more than a dozen reader boards from simple time and temperature signs to the grand spectaculars of ABC News and Morgan Stanley whose reader boards cover the entire front of each building. Reader boards are also prominent in just about every city and town in the United States and overseas. The message reader board format is now 75 years old. In the last several decades, it has suddenly evolved from just a stream of text as instantaneous news, to becoming an integral architectural component in decorative exterior wall facades. In some applications, message reader boards have also taken on the visual aspects of its host company’s brand identity. Therein lies a sign tale worth pursuing.

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Digital facade abril 28, 2008

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Digital Facade

Mariana Yordanova

 

Urban space in increasingly dominated today by buildings with media facades consisting of large animated screens (Ill. 2). In the past, traditional billboards impaired the lighting and ventilation of the internal spaces to the rear. A new system created by the G-LEC Company, in contrast, has a coarser pixel grid and allows visual contact between indoor and outdoor space, while still ensuring adequate resolution for the images. In this way, video quality can be combined with transparency.

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