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Forum 💡 LED Lighting Solutions ▪️ Design Ideas

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Found 27 results

  1. In this 3D projection mapped narrative film, we explore a young girls imagination as she becomes inspired by her aging grandfathers thoughts on the future. The story is inspired by how an older generation can inspire a new generation, even when they are not around to see what transpires. This original work was commissioned by the LUMA Projection Art Festival for the facade of the First National Bank in Binghamton, New York. Featuring choreography and performance by ODNA , creative collaborator for the dancing scene: odnaexperience.com Performance capture technology wielded by our tech partner and resident guru, Todd Bryant: toddbryant.com Source: projectionmappingnewyork
  2. Marc

    TRANSLIMINAL

    Working with Robin Fox, Additive designed and operated a disorientating and atmospheric light installation for Dark Mofo's late night music venue. Source: additive
  3. Prismverse is an installation inspired by light rays travelling in a diamond with Brilliant cut – a form that produces phenomenal brilliance with maximized light directed through its top. With a complex geometrical tessellated mirror wall, the highly illuminated interior becomes a metaphor for the instant tone-up effect of Dr.Jart+ V7 Toning Light. A journey to unprecedented sceneries of glimmers begins at the touch of the product centered in the space. Audience will be immersed in splendors of our mother nature, ranging from the galaxy and distant stars, rare gemstones, glistens of flowing water, and refracted light beams. These resembles the brightening, moisturizing, protective and vitalizing effects of the product once applied on skin. Thanks to the omnidirectional speaker ‘scenery’ produced by sonihouse, audience can be bathed in an ambient soundscape, where sound is equally distributed to every direction. Audience are most encouraged to pace around and explore brilliance of the world from all angles in Prismverse. Source: xex
  4. Light Pushes Stuff - Late Interactive An interactive mechanical light installation created by Late Interactive for Science in the City 2017. Light pushes stuff is an artistic representation of the concept of radiation pressure. A sensor in each sphere relayed data to a central computer which in turn communicated to the winch lights. Late Interactive is an artistic collaboration based in Malta dedicated towards creating interactive installations. The main goal of Late Interactive is to bring to life accessible and entertaining work that stimulates the audience by putting it in the driver seat and challenging it both through new concepts and unconventional aesthetics. Source: vimeo, lateinteractive
  5. KALEIDOSCOPE - analog interactive installation / placebo painting / open frameworks / large scale streaming on the LED facade by Karina Smigla-Bobinski Source: smigla-bobinski
  6. This installation is represent potential of rain. Rain has several scene like: silent rain, light rain, heavy rain, sun shower, misty rain … and more! I guess rain is beautiful and it scene will makes us happy. But almost people feel the blues in the rains… So that I started to make a installation about rains. Because I hope to provide that people will be able to feel the rain is beautiful, how nature is cool. One day while doing making a prototype, I had thought about myself in the rain. Then, I realised that rain is also works as an interactive Media for us! After that I changed the installation style: adjust lighting that looks more naturally as phenomenon. If you installed to my installation that space is just rain, wordless world, you might be think about yours. I hope to see you in the rain! Source: vimeo
  7. ‘Heofon’, an old English word which means ‘Heaven, sky’, is a 2m high maze based on triangular geometry made from 23 panels of acrylic glass. A dichroic film on one side of the acrylic glass converts the panels into semi-transparent and reflects the light rays along the entire colour range of a rainbow while spectators move inside the installation. On the outer perimeter, the panels are covered with a mirror film converting the interior in an infinity room – a unique cosmos of overlapping light patterns and constantly changing colours. Heofon is a project lead by ARRO Lighting, the installation was designed by Ben Busche of Brut Deluxe, and manufactured by Ilmex S.A. Source: vimeo
  8. "Flow” is an interactive installation for Estonian Presidency of the Council of the European Union, set up at Tallinn Creative Hub and Brussels Europa Building. Part of the interior design for the presidency, “Flow” is a digital artwork that visualises nature through digital algorithms and allows viewers to interfere with the forces of nature – catch a virtual gust of wind, float in the breeze of Ristna peninsula or try to form a tornado with passing-by Chancellor Merkel. In the absence of visitors the flow will by itself, based on the wind speed measured at the Ristna peninsula weather station on Hiiumaa Island. Source: vimeo
  9. In the middle of Tokyo, Midtown, vegetables are growing. They sunbathe inside a plastic greenhouse, and are living through photosynthesis and absorbing water. Leaves, roots, flowers, fruits. Their shapes and colors are their survival strategy. They are design. Start off by touching the 7 types of lives now growing strong in the soil. Then, bathe in the design of vegetables, enhanced by videos and sounds. <Digital Vegetables>
  10. Marc

    BRICKS - MIDIADUB

    We were invited by Virada Cultural 2017 festival to create an audiovisual proposal for the event. For this edition we created an interactive experience using the architecture of Parque Chacara do Jockey. Through programming using Touchdesigner software and the Kinect sensor the 30,000 people who went through the installation could interact with a brick wall that came to life through the movement of the spectators. Source: vimeo
  11. “Beyond”, Light and Sound Installation. Signal Festival, Prague. 2017 "BEYOND" is an immersive audiovisual installation that explores relationships between space, time and perception. A geometrical architecture transforms space into a container for the abstract language of light and sound. BEYOND is also a study on visual and auditory perspective. By generating a long tunnel, vanishing points are made visible, reinforcing depth effects and the perception of scale. A cluster of speakers along the tunnel mimic this very same perspective and depth effect through sound. Source: vimeo
  12. Anthony James’ work takes up the concepts of the universal and transcendental in order to demonstrate the impossibility of their representation. The historical cosmology of Plato is a primary inspiration, both for the sculptures of icosahedrons and for the silhouette of Baroque architect Francesco Borromini’s dome for Sant’Ivo in Rome. Colorful rings of neon nod to the ancient concept of the universe as a set of concentric planetary orbits. The effect is both esoteric and industrial, orphic and distinctly concrete. Modern art historical references abound as well – Bruce Nauman, Ellsworth Kelly, Minimalism – but the artist’s attention is on the wonderment and possibility presented by distant ideals. The neon spectrum works that provide the title for James’ exhibition are particularly poignant in the tension between references, effects, and materials. The Absolute Zero works are meticulously calibrated spectra of colored neon tubes arranged in concentric circles to evoke the radiance of sacred enlightenment. The hue and intensity of the colors are designed to create white light. The historical references here span empirical experimentation with prisms to the image, across cultures, of the universe-wheel. Neon is already in our time a somewhat outworn material and the visible wires and plugs that trail from the vibrant rings interrupt any illusions of transcendence. This is the paradox that James’ objects show, a formal certainty and perspicuity (exact symmetry, white light, accurate shape) that registers a loss of purity or autonomy or wholeness. His works illustrate ideals, but they themselves are very contingent and actual, particular, not universal: they are for today. Source: vimeo
  13. L&L is the technical sponsor of the artistic installation Wave/Cave on display at the INTERNI Material Immaterial exhibition in the Cortile d’Onore courtyard of the University of Milan as part of the FuoriSalone 2017. The installation, designed by the New York firm SHoP Architects, evokes the idea of geological time marked by the different eras. It uses 1670 blocks of unglazed terracotta to create 797 profiles on 3 levels, alluding to the idea of rock stratification. The lighting, designed by PHT Lighting Design, brings out the beauty and porous nature of the material and creates a play of volumes between the façade, compact and regular, and the interior, which reveals a surprisingly rich ornamentation. For this installation, L&L supplied 89 FLORI 1.0 projectors, which were positioned on the external perimeter and between the strata of the interior. The chosen outdoor lighting fixtures have 15° optics, a 2700K warm white light colour, and anthracite finish. Project SHoP Architects Construction NBK KERAMIK, METALSIGMA TUNESI with Arup, Cricursa, PHT Lighting Design Lights L&L Luce&Light Source: lucelight
  14. We know that Christmas is long over. However, this electrifying Swedish commercial still deserves some attention. It is about a solar panel system that can store energy - and to underline this message an over-the-top Christmas light installation was used to underline that you can use electricity with a clean conscience. SGM LED fixtures which are known for their low power consumption and eco-friendliness therefore matched that message perfectly. Lighting Designer, Peter “Tintin” Jörgensen, applied SGM P-5 wash lights outside the building to cover up the facade and several units of their little brother, the P-2, were placed inside to highlight the windows. He explained: “Besides the low power consumption, it was important that the fixtures had a high IP rating as some of them were installed outside. I also needed a great green and red color output to underline the Christmas theme - and I knew that the P-2 and the P-5 were able to deliver just that. I was very satisfied with their performance and their contribution to the final result.” Lighting Designer: Peter “Tintin” Jörgensen Programmer/Operator: Ishai Mika Production: Teaterteknik Supplier: Light Trade Applied products: P-2 P-5 Original: sgmlight
  15. Using ground-breaking LED technology from SGM, an interactive light commission entitled IN LIGHT: Illuminating Capability Brown’s Landscape, was created by light artist Laurent Louyer from Creatmosphere. In November 2016, various celebratory events took place in 120 different parks and sights all across the UK. This was to mark the 300th anniversary of renowned British Landscape Architect, Capability Brown, a historically important figure known as “England’s greatest gardener.” Many of his more than 170 park designs still exist today. Amongst these is Compton Verney, which also houses an independent national art gallery. Compton Verney celebrated Capability’s legacy and brought it to life through a light ‘spectacular’. The curator from Compton Verney, Penelope Sexton, had the idea that it would be great to do something outside on the grounds using light as a medium. She got in touch with Laurent Louyer and asked him to carry out the job. Louyer said about the assignment: “I had the simple brief to ‘respond to the Capability Brown’s landscape’. So basically, I had creative carte blanche - which is a dream come through as an artist. I found the trees, water and architectural elements to be the crucial cornerstones of the garden, so I put them in focus. My aim was to get people to play and engage, but also to educate them about the landscape and architecture. One of the installations was an interactive display where people could paint trees and architecture with light and colors.” For the interactive installation, he used twenty five pcs. of P-5 wash lights and five pcs. of Q-7 flood/blind/strobes from SGM as giant brushes for people to “paint” trees and buildings. They were all controlled wirelessly via touch screens booths placed at key viewpoints. Additionally, seven pcs. of G-Profile moving heads from SGM were programmed to effectively scan the landscape. They were located at very specific locations within the park where Louyer wanted to highlight specific parts of the visual landscape, adding another layer of discovery to the space. They were programmed to be out of sync, which ensured a dynamic, non-repetitive experience with varying sequences. It invited visitors to play with time, space and motion within their surroundings as they were not constrained to a specific timeline. It also encouraged them to discover specific viewpoints. Reflecting on the use of SGM fixtures for the installation, Louyer said: “It’s the first time, I’ve SGM fixtures in my projects. First and foremost, I picked them because of their great lighting performance. As it was an outdoor installation, a high IP-rating (IP65) was also crucial. Compton Verney is potentially interested in making the installation permanent, so I had to think of a durable solution from the very beginning. The strong architectural fixtures from SGM were therefore an obvious choice. All in all, I could tick off a lot boxes, going with SGM.” An important theme of the installation was sustainable lighting. There were organised workshops at the site discussing how to limit the power consumption and how generate power in a sustainable way. The light installation itself was also totally aligned with this theme, using the LED fixtures from SGM and 1,000 solar jars on the lawn. Laurent Louyer had the ambition have the kids to get more involved and especially the interactive elements had a big appeal to that segment. Normally, it is very difficult to get families to travel to the remote location, but with more than 8,000 new visitors during the event, the light installation certainly succeeded in attracting a new young family audience. The light installation even got news coverage from BBC. Photographer: Jamie Woodley Products used for this project: P-5 Q-7 G-Profile Original: sgmlight
  16. Услуги в Кью Королевский ботанический сад, Лондон (GB) Три художественные установки, которые, выставлялись в самом сердце садов - Crystal Tree: мульти-многовековая Дуб покрыт кристаллами irdescent освещения. Когда солнечный свет просвечивает дихроичный материал, кристаллы литых цветных тени многочисленной Среди ветвей. - Огромные Тростники: Как освещения камыш, 8е белые трубы двигаются с ветром. Они , кажется, становится живым , когда наступает ночь, как будто легкий сок Были ciculating с помощью ИКТ тела в нескольких анимированных сценариев освещения. - Noctifloors: Поле освещения Vegetals Кажется To-расцвели в парке. Почти 80 световых растений покрывают траву, и медленно pulste Когда наступает ночь. Source: pitaya
  17. High on the list of technologies that delivered such a memorable and moving London 2012 opening ceremony were the ‘pixels’ that turned the Olympic Stadium seating into a giant video screen.We were directly brought in by TAIT Technologies to work on this with their direction. We used 37 Ai Media Servers and 4 Sapphire-Midi Controllers to control the video on the 70,500 pixel tablets situated within the audience seating, as well as to control all LED & projection screens throughout the stadium. The ‘landscape screen’ is recognised by the Guinness World Book of Records as the ‘World’s Largest LED Screen‘. Immersive had a long-standing ambition of representing UK design in the 2012 Olympic games. We had always liked the idea of creating an ‘immersive’ video screen and soon were approached by the only company in the world who could manufacture such a dream – Tait Technologies. They had technically researched such an idea and already developed the installation into the form of tablet batons that each had 9 LED pixels in a 3×3 array. Each seat was equipped a tablet. All 70,500 of them were manufactured by Tait Technologies. The tablets measure 134mm square, and the pixel pitch is 50mm. Each pixel is individually programmable. The viewing angles are 180º both horizontally and vertically. We supplied bespoke templates that made animating on the warped screen possible to the animation teams working for ceremony director, Danny Boyle. We controlled all of the LED batons and mapped all content to the unique fixtures with our custom-made media server, Ai, which was the main media server used by the London 2012 ceremonies. “We chose Ai because of Avolites’ substantial and long history in the field of entertainment; and quite simply this is one of the only server systems that can handle mapping on such huge scale. The Olympics was a one-shot event – it had to be perfect – and the strength of the company reputation is reassuring to all those involved. Managing this volume of mapping is easy with the Ai software.” – Frederic Opsomer, CEO of Tait Technologies We used 37 Ai Media Servers and 4 Sapphire-Midi Controllers, all were operated live by Immersive and Avolites Media technical staff. We controlled Installations including: 70,000 Audience LED Pixels, x5 Spice Girls London Taxis, x4 Freddy Mercury moving Projection Screens, x4 Stadium 30m Audience LED Screens, Coldplay Live Stage projection plus all Stadium IMAG screens. For the closing ceremony dance party highly anticipated Spice Girl’s reunion preformance, 5 of London’s famous Black Taxi’s were fitted on the exterior with LED by Tait and equipped on the interior with five mobile Ai servers to control the videos. Special thanks to Dave Green, Trey Harrison, Mark Calvert, JB Toby, and Martin Harvey. Source: immersive.international
  18. Chili Peppers Get Away With Largest Touring Kinetic Lighting Installation Since opening night, social media has erupted with videos, hashtags and comments with fans describing it as “a dream come true,” “a show you can’t miss,” “genius,” “spectacular,” “the best concert I have ever seen.” Even more so, the fans were impressed with the “dynamic glow” from the kinetic light installation that created a nonstop, contagious spirit throughout the night. The kinetic display used over 1000 TAIT Nano Winches to deploy the connected LED light fixtures which hung above the crowd and traveled 60 feet perpendicular to the stage. The light fixtures moved 10 feet per second, horizontally, vertically, in and out of unison, into shapes and into the bands logo, while changing colors from all spectrums of the RGB color grid. The rhythmic lighting and juggernaut movements of the fixtures were accented by the video content being displayed on the massive screen behind the band. The Peppers’ main focus for The Getaway Tour was to provide the audience with an immersive, three-dimensional concert experience, while feeling every groove and lick of their music. To achieve the goal, the Peppers team, which includes Production Manager, Narci Martinez, Production Designer, Scott Holthaus and Manager Peter Mensch of Q-Prime immediately began designing the show and searching for the latest in technology and art. Mensch ultimately determined, after numerous conversations and viewing TAIT’s latest product, TAIT Nano Winch, that TAIT would be the provider of staging, automation, and, of course, the larger than life kinetic light installation powered by TAIT Nano Winches. Source: taittowers
  19. KEVIN

    Tessellaser

    A scenographic light installation idea, compromising of RGB pixel battens and green matrix beam point lasers. Fully controlled by Resolume Arena's new dmx/artnet features. Source: rebeloverlay
  20. LEDs ★☆★

    PRISMAtique

    PRISMAtique was a temporary installation for the In Light In Indianapolis Light Festival along the canal downtown. The project seeks to investigate the fracturing of geometry and light through both material and interaction. Material selection was key to this exploration. Through the use of twin wall polycarbonate, light is refracted through the flutes of the material, disguising the origin of light. Each cell only contains one LED, yet through the layering of the extruding panels, the light begins to overlap and create a complex visual effect. This fracturing of light is driven through the project’s interaction. As users trigger sensors in the piece, a sequence of associated LED’s are activated. Because the sequence is inherently random and the LED’s are only momentary, the sources are not apparent. However, the fractured path of users walking through the environment is clear. Each LED is filtered with a custom printed Mylar film that creates at gradient of light from cyan to magenta. The soffit blends white light and printed films to create an exciting three-dimensional atmosphere for users to experience. Our work was among over 25 other projects from national and international artists, encouraging exploration and participation. This inaugural event lasted for two nights attracting thousands of people to the canal, providing provide unique and memorable experiences.

    © http://www.projectione.com/prismatique/

  21. With 28,000 LEDs, It’s Lights! Lights! Lights! Action! Strung across the Metropolitan Opera’s stage on more than two dozen parallel strands, from the pit to the back wall, 28,000 colorful LEDs will create an ever-changing, sometimes tempestuous sea for the Met’s new production of the Finnish composer Kaija Saariaho’s “L’Amour de Loin. The lights are the centerpiece of the staging by Robert Lepage, who runs the production company Ex Machina and has directed theater, films, circuses and the Met’s much-debated production of Wagner’s “Ring” cycle. LEDs solve the problem of how to depict water onstage in an opera about the idealized love of a troubadour and a countess separated by the sea, and they provide a visual complement to Ms. Saariaho’s music, which is shimmering, colorful and luminous. More information is available here.
  22. LEDs ★☆★

    The Speed of Light

    The Speed of Light transforms humble urban design fixtures into a playful rollercoaster of light where simple LED globes accompany visitors as they walk through the neighbourhood. The installation, which is a playful twist on a static light pole, puts the emphasis on the light itself and its movement. The simplicity of the installation is captivating, whilst keeping a minimal appearance.
  23. The installation is controlled via Healium Lightformer, a realtime, node based, 3D light control software, developed in-house. For more information, visit: healium.hu/lightformer
  24. LEDs ★☆★

    LUXONUS

    Interactive light & sound installation Luxonus is an interactive installation of light and sound developed thanks to a new partnership with two interesting actually north of Reggio Calabria: the Ecolandia Park and Face Festival. The installation, replicable in other contexts and places, thanks to an ad hoc step sequencer programmed, allows the public to create music loops that turn into light choreography, in this case, on the ancient Forte Gullì. To every note played, a siaccende light to illuminate a portion of the facade. If Gullì, the public, in the days before the festival, through a web interface, has been able to create, record, and send your contribution to music. All the collected works have been presented in the four evenings of the event. In addition, during the days of the Festival, thanks to an on-site location, the public could interact directly with the installation by playing a specially programmed keyboard. The multimedia exhibition was also used as a backdrop to the concerts scheduled. Luxonus was open to all and active for the duration of the event. kernelfestival
  25. LEDs ★☆★

    Light installation AnTUenna

    Light installation AnTUenna consists of ample 10,000 LED lights attached to the chimney at the ‘groene loper’ of the Eindhoven University of Technology campus. These LED lights generate red, green and blue light and are individually controlled in colour and intensity by a central controlling system. These light points are grouped around the chimney in rings of 60 LEDs each. It starts with a 15 centimetres’ distance between the upper two rings to be increased up to a distance of several metres between the two lowest rings. Horizontally, the distance varies between 14 and 32 centimetres. And owing to this specific division, a conic, low resolution screen appears which depicts images, videos and animations to be seen at great distance. During GLOW, several moving image projects are shown representing scientific and technical processes. These images are supplied by several faculties of the University of Technology, exemplary for the many fascinating studies that take place on campus. After GLOW, AnTUenna will remain on site permanently.
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