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LIGHT ART / VIVID SYDNEY, AUSTRALIA
Clockwise from top left Let me play so I can lose my way - David Kenworthy and Steve Kilbey (Australia); Cumulus - Ruth McDermott Ben Baxter (Australia); City Life – The Electric Canvas (Australia); Subversion - Gary Edmonds, Anthony Rawson, Patrick Shirley, Bruce Hart and Stuart Gregg (Australia).
S+20k DLP projectors (20,000 ansi lumens) arrayed in six groups each fed by a separate media server. Projectors and servers were housed in custom enclosures at four loca- tions in the forecourt of the building. Par- ticular care was taken to minimise the site footprint and to maximise the immersive experience for the sometime large crowd. Customs House is a multi-tennanted property with several bars and restaurants including two located in the forecourt, so the team were careful to minimise impact to these business and their patrons. “It was essential to prevent projected light from causing discomfort or hazards to patrons and staff so a series of masking layers could be activated in the playback system as dictated by the activity of the restaurants and other tenants. Control of ambient light is always an issue for projection and in order to extinguish the façade and fore- court lighting, we had to provide our own
controllable lighting solution to maintain public safety,” explains Peter Milne, Projec- tion Designer and Technical Director at The Electric Canvas.
In addition to these large scale façades, smaller installations were scattered around Sydney’s Ciruclar Quays and The Rocks. Underbrella takes the familiar ‘brolly’ and recycles it into something new. Inspired by a concept created for a one-night event by a group of Dutch architectural students, Anna Meister and Jorden Martin took the idea one step further designing a permanent intimate and quirky space using 3D concept renders. The construction of the framework was outsourced to Pier Productions, with the lighting design and installation by Peter Greig. It took approximately three weeks from concept development to completion. The lighting design rapidly evolved during testing. Originally opting for colour chang- ing LED Pars and small mirrored lasers that
were focused on individual umbrellas, Greig quickly decided it needed more punch. The result was 1,200 LEDs that would slowly pulse in intensity, drawing passers-by inside, where a built-in sound installation encour- aged them to linger. Passage to Happiness – a piece by Singa- porean Sun Yu-li – comprised two entwining stainless steel pipes. Each with a continu- ous slot opened on the side into linear LED lights are incorporated. On the surface of the pipes, there are numerous machine- cut slots allowing the LED lights to shine through. Visitors are invited to walk through the piece and experience a ‘stroll through the universe’. HY William Chan’s Palette of Urban Green explored the need for sustainable urbani- sation in our cities around the world. “To express this ever-changing relationship be- tween the natural and built environment, I transformed a waste product into something
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