Color Suite in Topography | Cheekwood
Cheekwood Estate & Gardens, Nashville, TN
May 7-September 4, 2022
COLORSCAPES is an immersive, site-specific exhibition, exploring the perception of the physical world through color, the exhibition features a series of dynamic, experiential outdoor installations and gallery interventions.
Color Suite in Topography
Inspired by Abraham Gottlob Werner’s early classification of colors found in nature, the Scottish flower painter Patrick Syme published an amended and expanded version titled Werner’s Nomenclature of Colours (1814). In addition to a mineral referent, Syme added an example from the animal and vegetable kingdoms for each color as well as an actual swatch to accompany the textual descriptions. While Werner had initially identified 79 shades from geological specimens, Syme included an additional 31, bringing the total number of colors to 110. Color Suite in Topography represents the whole of Syme’s nomenclature, expressed through unique flag designs made from patterns of repeating flora.
Snow White, Reddish White, Purplish White, Yellowish White, Orange-colored White, Greenish White, Milk-White, Greyish White
Ash Grey, Smoke Grey, French Grey, Pearl Grey, Yellowish Grey, Bluish Grey, Greenish Grey, Blackish Grey
Greyish Black, Bluish Black, Greenish Black, Pitch or Brownish Black, Reddish Black, Ink Black, Velvet Black
Scotch Blue, Prussian Blue, Indigo Blue, China Blue, Azure Blue, Ultramarine Blue, Flax-Flower Blue, Berlin Blue, Verditter Blue, Greenish Blue, Greyish Blue
Bluish Lilac Purple, Bluish Purple, Violet Purple, Pansy Purple, Campanula Purple, Imperial Purple, Auricula Purple, Plum Purple, Red Lilac Purple, Lavender Purple, Pale Bluish Purple
Celandine Green, Mountain Green, Leek Green, Blackish Green, Verdigris Green, Bluish Green, Apple Green, Emerald Green, Grass Green, Duck Green, Sap Green, Pistachio Green, Asparagus Green, Olive Green, Oil Green, Siskin Green
Sulphur Yellow, Primrose Yellow, Wax Yellow, Lemon Yellow, Gamboge Yellow, Kings Yellow, Saffron Yellow, Gallstone Yellow, Honey Yellow, Straw yellow, Wine Yellow, Sienna Yellow, Ochre Yellow, Cream Yellow
Dutch Orange, Buff Orange, Orpiment Orange, Brownish Orange, Reddish Orange, Deep Reddish Orange
SKY BLUE | Cheekwood
Cheekwood Estate & Gardens, Nashville, TN
May 7-September 4, 2022
COLORSCAPESis an immersive, site-specific exhibition exploring the perception of the physical world through color, the exhibition features a series of dynamic, experiential outdoor installations and gallery interventions.
In 1789, the Swiss scientist and mountaineer Horace-Bénédict de Saussure (1740-1799) invented a device called a cyanometer (or cyanomètre). A simple tool made to measure the blueness of the sky, it is essentially a circle of paper with gradients of Prussian blue that move from white to black in fifty-two distinct degrees of color. Saussure, along with subsequent scientifically minded explorers like Alexander von Humboldt (1769-1859), used the device to demonstrate that the color of the sky grows darker with increases in elevation. Sky Blue transforms the existing architecture of the portico of Cheekwood’s Historic Mansion into an inhabitable cyanometer. In this environmental installation the ever-present if often unnoticed connection between sky, place, nature, color, and individual acutely perceptible and felt.
Known for daring and unconventional designs such as the Cadet Chapel at the United States Air Force Academy, architect and former SOM design partner Walter Netsch (1920 – 2008) employed the same ingenuity for the design of his own home as he did in his major projects. His Chicago residence demonstrates the design philosophy he called “field theory,” based on complex geometries that establish intricate relationships between form and function. Originally completed in 1974, the home appears as a deceptively simple box from the outside, but contains a rich variety of spaces within, with multiple interior levels connected by open-riser stairs. After Netsch’s wife passed away in 2013, SOM worked with the new owners to maintain the spirit of the house by sensitively adapting and renewing select elements of the structure.
The Netsch residence is situated inconspicuously in Chicago’s Old Town neighborhood, where its brick facade gives little indication of the complexity behind it. Inside, multistory ceiling heights create the illusion of a much larger house. Skylights that at first seem strangely placed are soon revealed as highly calculated decisions, framing views and illuminating specific spaces at certain times of the day and year. Netsch’s application of field theory creates expansive sight lines between rooms; indeed, the only spaces in the entire house with doors are the bathrooms.
The renovation added new appliances and cabinetry to a well-worn kitchen. A continuous 40-foot walnut counter and shelf were installed to recall the original linear service bar. The half bath was renewed with new counters, lighting, and a cleverly concealed water closet. New tile work and counters refresh the existing master bathroom configuration. To reconcile the open concept with the need for privacy, concealed sliding doors were designed and installed at the bath and master bedroom area.
The interiors were once covered wall-to-wall with works from Netsch’s art collection, which included prominent American modernists such as Robert Motherwell, Roy Lichtenstein, and Robert Indiana. Now, the wall above the sofa provides a backdrop for a newly commissioned site-specific piece: a digital projection by Chicago-based artist duo Luftwerk.
Geometry of Light | Farnsworth House
Geometry of Light was a three-night light and sound art installation at the iconic Mies van der Rohe designed Farnsworth House, in Plano, Illinois, October 11-13, 2019, coinciding with the third edition of the Chicago Architecture Biennial.
Completed in 1951 and opened to the public in 2004, the Farnsworth House was the weekend home of Chicago research physician Dr. Edith Farnsworth. This outdoor intervention uncovered the forgotten history of the site and remnants of earlier landscape by revealing the underlying geometries that relate the world-renowned house to its river floodplain, site topography, and key trees that no longer exist.
In concert with the projected light, a custom-designed sound piece by Oriol Tarragó is integral to this experience. Developed in direct response to the site, this auditory component uses the pitch of the space to create a tonal reading. Together these elements provide a new interpretation of the Farnsworth House and its extraordinary location.
Geometry of Light premiered in February 2019 at the German Pavilion in Barcelona designed by Mies van der Rohe and Lilly Reich. The installation was presented as part of the Fundació Mies van der Rohe’s ongoing program of artistic interventions also corresponding with the LLUM BCN Festival and the Santa Eulàlia Festival.
National Trust for Historic Preservation
Geometry of Light | German Pavilion
Geometry of Light was an art intervention by Luftwerk in collaboration with Iker Gil at the German Pavilion in Barcelona, February 10-17, 2019. Organized by The Fundació Mies van der Rohe and MAS Context, presented as part of the Fundació Mies van der Rohe’s ongoing program of artistic interventions, and corresponding with the LLUM BCN Festival and the Santa Eulàlia Festival.
Geometry of Light, was an immersive intervention that envisioned a contemporary lens for this important masterpiece, highlighting and expanding upon the architectural and material features of the structure. Using the 1929 German Pavilion, designed by Ludwig Mies van der Rohe and Lilly Reich, as the foundation of the work, Geometry of Light created a new interpretive layer extending from the primary elements of the architecture, including the gridded plan, vertical planes, and materiality. In concert with the projected light, a custom-designed sound piece by Oriol Tarragó is integral to this experience.
By emphasizing the open floor plan and material selections, Geometry of Light heightened the illusion of physical and material boundaries. Focused on the gridded plan of the pavilion, a grid of light animated the architecture to accentuate the flowing space as it permeates through the interior and exterior. The animated lines of light were choreographed to trace, highlight, and alter the composition of the pavilion.
The first of two interventions celebrating Mies van der Rohe, Geometry of Light was also presented at the iconic Farnsworth House, in Plano, Illinois, October 11-13, 2019, coinciding with the third edition of the Chicago Architecture Biennial.
Linear Sky | 21c Museum Hotel Kansas City
Responding to the form and function of the entrance hallway at 21c Kansas City, Luftwerk’s Linear Sky features light fixtures that vary in length, producing an anamorphic optical illusion of an expanding, outward pattern of line and color upon both entering and exiting the ramp. The hues from one direction differ from those in the opposite, acting like a multi-colored mirror of each other and differentiating the experience of moving into or out of the hallway. The LEDs are programmed with a lighting sequence inspired by the changing hues of the outdoor skies above the urban landscape of Kansas City: the palette of bright morning saturates the walls that greet visitors, while the glow of waning daylight colors envelop those en route to the outdoors. Evoking the span from dawn to dusk and back again, Linear Sky juxtaposes day and night, nature and technology, past and present, welcoming visitors into a space of the future. The vertical light fixtures installed on monochromatic walls reference the aesthetics of Minimalism, and create a strong, contemporary contrast to the historic patterning on the floor and the ornate pilasters on the walls. The geometric interplay of the vertical and the horizontal within this narrow, ramp leading to and from the lobby both highlights and transforms the architecture, offering visitors views of a new horizon from either direction.
becoming | Perrier-Jouët
Inviting viewers to experience a series of transitions, Becoming created an evolving experience of color and exploration. The immersive installation at Design Miami flipped through cycles of change to the reflect an evolution of patterns in nature. Based on Emil Galle’s drawing of the anemone a custom-designed wallpaper animated through washes of light in the RGB spectrum. The interplay of the lights with the cyan, green, and yellow printed wallpaper continuously changed the atmosphere of the room and perception of the layered patterns as they intensified or receded with the shifting lights. An infinity mirror flanked both ends of the room, creating an intriguing and mystifying experience. These visual portals captivated the viewer and beckoned associations to the large network of underground tunnels in the cellars of Perrier-Jouët’s Masion Belle Epoque.
A second iteration of this installation took place on Herzog and De Meuron’s 111 Lincoln Road parking garage. Projected onto the ceiling of this open-air structure, the shifting floral pattern created a canopy atop the urban structure. Contrasting with bold and raw concrete structure, the delicate lines of the patterns boldly lit the architecture balancing the atmosphere.
These installations were commissioned and inspired by Maison Perrier-Jouët.
Kalos Eidos Skopeo | Private Event
Kalos Eidos Skopeo translated as the observation of beautiful forms, was developed as a temporary, immersive installation. Three primary components of the project included: a custom-designed, geometric printed textile that covered the walls and floor; a multifaceted, mirrored canopy designed as a life-sized kaleidoscope that framed and reflected the printed design; and a series of LED lights that washed the space in a shifting RGB spectrum.
The large-scale fabric print provided the foundation of this installation. Three geometric designs each in a different color—cyan, magenta, and yellow—were layered on top of one another to create a dimensional pattern. Correlating with the RGB spectrum, LED lights washed the installation while shifting through the colors. Each color wash resulted in different interactions with the printed colors making the layers intensify or recede depending on the reaction. With a yellow light wash, for instance, the red lines in the pattern intensified while the yellow lines receded to the background. Color changes shifted the reception of the print, creating a dynamic and immersive environment. The multi-faceted, mirrored canopy was positioned to give the viewer a life-sized kaleidoscope; it fragmented and reflected the pattern, making a continuous, immersive pattern from floor to ceiling. The canopy was echoed in a large-scaled object placed in front of the installation, reflecting the patterned fabric in its dimensional form.
Mixing colored light with printed color and reflective surfaces, Kalos Eidos Skopeo played with the perception of the view. Color shifts in the lights animated the print. This color play was also enhanced and multiplied in the reflective surfaces that activated the entire installation into a continuous and dynamic environment.
Mauerschau | Bayerische Staatsoper
Mauerschau is Hauke Berheide’s operatic interpretation of Penthesilea—Heinrich von Kleist’s 1808 tragedy about the mythological Amazon queen. The opera imagines a tumultuous, raging war in an emotional drama highlighting the complicated, abstract reality embedded in these conflicts.
Luftwerk’s design for the stage and video content for this opera reflected the confusion inherent in war. They set the tone of the opera with Roger Fenton’s iconic 1855 image of war—one in which a staged propaganda photo frames a distorted reality. Stemming from this, patterns derived from Morse code and Dazzle camouflage further highlight the abstract realm of war. Using forced perspective the set gives the illusion of a greater depth, altering the viewer’s perception and abstracting reality.
Using a mix of historic and contemporary visual materials, the set connected the historic story of war into the present in an atmospheric design. Together, the design elements set the mood of the opera while looking at how abstraction can exist in the reality of photography and the similarities of wars throughout time. Abstract details of message, approach, and history reside within and are reflected through this design for Mauerschau.
Die Deutsche Bühne
MAS Context X Luftwerk X Marina City
Luftwerk created this animated display in celebration of architect Bertrand Goldberg’s iconic Marina City. This site-specific installation incorporated the basic elements of the building as it was projected around the central core on the rooftop of Marina City. Goldberg was largely known for his disinterest in creating straight, formal buildings like his predecessor Mies van der Rohe; Luftwerk used this difference as an inspiration in this piece. Half circles and petal shaped imagery interplayed with geometric and curved lines to explore the innate characteristics of Goldberg’s architecture. Located in the center of downtown Chicago, the installation incorporated views the surrounding architecture of the city.