Client: MoMA / PS1
Location: New York, USA
Program: Temporary environment, multimedia installation
Area: 1.400m² / 15.000 sf
Status: First Prize Competition Winner, Completed 2010

PURPOSE : to create “sensory-charged environments” –  participatory environment that reframes the conceptual relation between humankind and structure.

The Pole Dance system consists of 16-by-16-foot grids of 30-foot poles, which are connected by bungee cords. The poles’ movement is controlled by the elasticity of the cords, and the grid accommodates a number of playful activators, such as hammocks, pulls, and rain-collecting plants. These leverage points are the interface between the visitor and the system. A local action allows a small transformation to ripple fully across the larger system, and the gently swaying columns broadcast these ripples over the courtyard walls into the city and to the world beyond. An open net covers the entire field and stabilizes the poles. Multicolored balls move above the net, offering shade and giving the overall structure the appearance of a game—a game in which the rules need invention. In one area, the net drops down to accommodate a pool, offering a view above the net. This entire construct softly covers a landscape of hammocks, misters, pools, and pulls to create a light, colorful environment in constant flux.

The small courtyard adjacent to the main space holds an immersive, interactive portion where visitors can create and control a rich sound experience from within the installation. Eight poles contain “accelerometers”—electronic devices that measure the motion of the poles—connected to custom software that converts motion into tones specifically composed for the installation. An iPhone application allows visitors to affect the quality of sound for each pole in real time. By turning the effects levels up or down the audience can collaboratively vote to change the active sound of their environment. The application also collects the movements of the interactive poles and visualizes the dynamic activity and movement within the installation in real time.




















CITATIONS : – by  Florian Idenburg



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