The soft reflections casts light, shadows onto the floor, then spreading to the entire room. The soft quality of the thin mirror surfaces creates a slight vibratory motion, making the work seems almost as made from textile. On the 3 outdoor stair towers on Teglverkets School the fronts of each of the stairwells is replaced with Diachronic glass. Diachronic glass is a material that is able to detect light in new and unpredictable ways through its wide-ranging material properties: transmission; reflection; wrestling; and diffusion.
The coated glass divides the spectrum of the light beam. The transmitted light is changed to a color and the reflected light in a color different from the remaining spectrum. WILD is a light ornament in neon located on one of the central white walls in the atrium at Teglverkets School.
The wall is facing the great staircase in the atrium and adjacent to the large roof window. WILD brings the sense of nature inside the atrium and becomes a symbol of the wild flowers that grew along the river outside the school once upon a time. In the centre of the new 21C Museum Hotel building in Cincinnati, Ohio three large scale weavings are placed in a light well. The installation functions like a breath of light; a subtle change of the light in the artwork lends a meditative calming point of wonder to the space.
One of the most eye-catching works of art in the House of the Danish Industry Foundation is a large curtain encircling the main auditorium. The work is donated by the New Carlsberg Foundation. At first sight the artwork looks like a gigantic white and blue watercolour painting. It represents the Danish and Chinese skies fusing. The work also has a practical function and therefore consists of two layers of textile. Where the transparent layer makes it possible to screen the auditorium from sunlight, while at the same time maintaining the view, the heavier velour layer has an acoustic function.
A total of 1, square metres of textile went into making the curtain. The Flower of Life is an ancient geometrical figure known within many different cultures, often as a sacred symbol, and to some a visual expression of the threads that life weaves through all human beings. It is composed of multiple evenly spaced, overlapping circles, arranged to form a flower-like pattern with a six fold symmetry, like a hexagon.
The centre of each circle is on the circumference of six surrounding circles of the same diameter. The light comes from a total of nineteen different circles allowing the many different variations of the ornament. During the day the light will change in colors and intensity. The light for each of the circles can be controlled individually, producing patterns forward within the Flower of Life. Hopefully, it will create a relaxing and comforting ambience for the patients of the hospital, as well as for the visitors and the personal.
It is meant as a picture of how Gigantium bind different cultures together and thus operate somewhere between country and city between inside and outside and between culture and nature and it is an incentive to explore the movement of the light.
The work reflects in the glass facades, steel columns, window glass, lenses, glasses and other itinerant glass. Incitament gets in that way its own completely unpredictable life.
The sacred room at Halden State Prison is a spiritual space facilitating silence, prayer and reflection. Being a frame for ritual ceremonies of all kinds, the space will embrace believers and nonbelievers alike. Myriad consists of a perforated wooden wall with fiber optical bright spots arranged in an ornamental form. The fibre optics can be programmed to switch color and intensity in fast or slow intervals.
A contemplative relation is established between the outside nature and the light from Myriad. The motif is flexible, universal and thus creating optimal use of the room in relation to its many different users.
For eighteenth-century dress, museum catalogues and other publications undoubtedly have helped reshape the field since the s. The textile business in Britain, though successful, went through economic cycles. The course encourages a studio culture to develop alongside specialist textile workshops. Broudy, Eric. Skylight is a meditative work with room for wonder and the installation adds an extra dimension of filtered light intothe hospital.
During the day and night, the LED light will change in colors and intensity, and each string of the ornament can be controlled individually, bringing other patterns forward within the Vollsmose. In my decorating for Vollsmose I have been working towards a universal symbol - an ornament which can gather all the differences. Geometry has always been a fundamental tool in architecture. Geometric patterns are used in both religious and secular context.
An ornament, forming a new pattern, which testifies to a vibrant and multicultural mini community center of Odense. Light is conducted though the optical fibres with the weaving very slowly changing colour. The Central Art Committee of the Danish Parliament wanted a decoration that gave light and colour to one of the long, very dark, corridors of the Folketing building. The solution draws its inspiration from an old patterned frieze that was painted by artist Rasmus Larsen The frieze stretches through the central lobby, known as Vandrehallen, of the Folketing.
Seemingly superficially, the pattern of the frieze is repeated, but at a closer look it emerges that the artist constantly varies the motif imperceptibly. Polytics consists of neon tubes in combinations of circles, floral patterns and lines. The work is set in a niche and is only experienced in its entirety when the viewer gets relatively close to it. When moving down the passage it is the lit space around the work that becomes the focus. Every 45 seconds the light and colours of the neon tubes change in different combinations. Every other combination is pre-defined while the rest appears at random.
There are more than , possible combinations. With a point of departure in the murals of the Folketing lobby, Astrid Krogh has shaped a modern, radiantly coloured frieze for the third floor passage. The floor of the room is covered by a, one-off, specially made carpet in light blue and beige, which only distinct pattern unit mimic the carved window panelling of the room. The walls are acoustically regulated and coloured with pastels producing a shot effect, and instead of the portraits that used to make up the main part of the wall decoration of the room, tapestries of woven steel filters are now hung, producing interference patterns both in daylight and when the light behind them is on.
The result is a space that is constantly transformed by the changing of the light, echoing the rhythms of the days and the seasons. Alternatively, the mode is determined by the setting of the electric light which is adjustable for the ceiling and from behind the steel tapestries. In the reception room of the DSB headquarters, everything is new; the flooring, furniture, lighting and the large glass wall running throughout the length of the room where the light in the optical fibres changes colour through the course of the day.
The building is characterized by its pure grey concrete lines and large glass areas.
In the panopticon section of the building the company wanted a decoration. The wall rises vertically through several storeys and is a central part of the building where many of the staff passes by every day. The wall can also be seen from the road. The large woven steel wallcovering part of the decoration has an acoustic-regulating effect and has been executed as a living, constantly moving wall surface. The effects of the decoration varies greatly depending on the season, the time of day and the weather.
During the day the decoration will often look almost steel-grey against the surface with a slight effect of interference in the weave of the steel netting.
Towards the evening the colours of the neon tubes begins to appear more clearly and at night the decoration stands out as a shining wall that can be seen from the road. Its brilliance is believed to represent the Divine presence on Earth, illuminating the skies with the radiance of heavenly realms.
Krogh began by browsing through religious texts to find the meanings attributed to light, then painstakingly captured its golden tones in layers of gold leaf. Large-scale graphic shapes were cut out to mimic the outlines of clouds, which were then illuminated by the soft light produced by amber LEDs. The integrated lighting gently transitions from soft to intense and back again, adding a subtle sense of movement to the otherwise static surface.
The golden glow that results gives the wall a gentle lustre and a unique sense of warmth, almost as if rays of summer sunshine were streaming over the room. Like Goldenrods in nature the flower here grow in an area, where you least expect flowers to blossom. The flowers have 3 different golden colors. Shift in light intensity create a meditative atmosphere and mimic a movement of light and time.
The reflective colors will give back a warm atmosphere to the healing garden. The exhibition is presented as a total installation composed of three series of works that interact with each other: Cloud Illusion, a series of panels of aluminum foil reflective, thin and flexible, which reflect and transform the space with chiseled surfaces ; Skylight, a large circular sculpture whose color flow, slow and meditative, recalls the atmospheric changes of heaven; and Plant, a wall sculpture brass vegetable forms as imagined by a child, or Matisse.
The illumination on the back leaves a slightly unreal halo on the wall behind the work, much like an afterimage. More than just a reference to the landscape as a motive or inspiration, it would be here the landscape as a place of transformation through the prism of light, physical but also mental landscape, a landscape-mindscape, a walk-haiku. This transformation, external and internal, is effected by the changing nature of light, natural or artificial, and by the movement of the viewer's body in space, slightly troubled by a loss of reference but moved by a gain of view.
Because the work of Astrid Krogh is not only facing the beauty, it makes us give us the richness of our own perception expanding. Some works have the ability to transcend the academic classifications. Cloud Illusion seems to be an invitation to meditate on the flow of life. The fluidity of the material combined with calligraphy drawn and the vertical format of the work, can recall the spirit of Chinese wash of the Sung dynasty in which the idea of capturing the nature and the breath of life through of one color is essential.
Only in the work of Astrid Krogh, color and life are not added but reflected. Its interaction with the ambient daylight is strong yet subtle with the soft reflections creating light and shadows onto the floor, spreading to the entire room.