Jason Bruges Studio were commissioned by GLComm to design and build a multi-sensory experience for LG Electronics that was a living, breathing representation of the new LG SIGNATURE range. This took place from the 1st September at IFA 2016 in Berlin.
Drawing on the experience of blending architecture with interaction design, we carefully crafted a multisensory and dynamic experience that reinterpreted each of the product’s essence into lighting, movement and sound to convey nature in art.
The luminous, mixed media, suspended canopy called Pixel Constellation, was created by a series of expressive physical pixels. The different typologies were inspired by the four LG Signature product types; refrigerator, washing machine, air purifier and OLED television and the variety of pixels created a light and sound symphony inspired by a series of natural phenomena.
The Curious Canopy, commissioned by Intel for their stand at MWC 2016 in Barcelona, was a reactive ceiling installation consisting of 243 bespoke LED rings that track and highlight the areas of interest across the stand through real time sensing. The ‘curious’ ceiling observed its surroundings and responded to the crowd beneath with patterns created through theatrical choreography influenced by their movements. The ceiling displayed waves, eddies, ripples, digital applauses and Mexican waves, serving as an ambient and impressive canopy to entice attendees of MWC 2016 to visit the stand. Each ring was controlled by Intel’s own open-source Edison module with a bespoke board that read the activity below and used it as a parameter to control ceiling wide effects.
Jason Bruges Studio was commissioned by WWF to design and create the ‘WWF Experience’, a conservation themed installation at their Living Planet Centre, officially opened by Sir David Attenborough.
The installation consists of four immersive zones, each reflecting a different key area of the environmental organisation’s work – forests, rivers, oceans and wildlife. Each area is designed to reflect the sights, sounds, scents and ambiance of their different environments, with large-scale display screens playing exclusively commissioned footage made in partnership with the BBC, as well distinctive soundtracks created by the acclaimed composer William Goodchild.
Visitors of all ages are invited to explore each immersive habitat to discover, learn and connect with a range of exciting challenges, quizzes and other interactive games designed to educate and inspire. Guests can walk or crawl into the zones, smell specially developed scents and explore by peeping into small screen enclosures. They can touch bespoke cast triggers, watch films arrayed across screens and learn more via touch screens and e-ink displays of text and data feeds.
Jason Bruges Studio was commissioned by Tate Modern and Bloomberg to design, create and launch Bloomberg Connects, a pioneering new digital arts project which sees the museum marry cutting edge technology with its current collections. A total of seventy-five screens, over half cascading down the valley of the central staircase, will display visitors’ ideas and comments. A digital drawing bar allows people to respond visually to their visit and see large-scale versions of their artworks projected on the wall.
The installations created are spatially aware, and use body tracking technology to respond to and attract visitors who are nearby. The design team up-cycled and reconfigured pre-used monitors and terminal screens, donated by Bloomberg, by adding Raspberry Pi computers for the stairwell display. This breathed new life into old technology that would otherwise have been recycled. The screens were embedded into the existing architecture at the site, to ensure that this new addition to the museum would be fully integrated into the existing layout of the building.
A replica art installation of the iconic No10 front door briefly replaced the real thing as part of the GREAT Britain campaign, and toured the world highlighting the UK’s historical heritage while showing off the country’s craftsmanship, creative talent and technical know-how.
The “Digital Double” of the most recognisable door in the world was a co-creation of Jason Bruges Studio and Benchmark, leading designers and master craftsmen. Specialist responsive LED technology is embedded in the bespoke door with an array of sensors monitoring movement immediately behind it, capturing the moment anyone passes by and through it, which is then projected as silhouettes onto its surface,
The door combines fine craftsmanship with innovative British-made responsive technology for a uniquely interactive take on an iconic location.
Man vs Machine and 4Creative, Channel 4’s in-house creative agency, commissioned Jason Bruges Studio as Production Designers for the More 4 live-action idents (including their special Christmas idents shot in Iceland) as part of the channel’s rebrand. The studio created the design, build and installation across two outdoor and two indoor locations, including a domestic staircase and an abandoned boat in Dungeness. Extra production support was drafted in from Middlesex University due to the short turnaround of the build. The re-brand was centred round a bold, flexible logo that morphs through a series of flips, folds and reveals, which sees the brand break out into the real world. The colour palette reflects the vibrant nature of interiors, food culture, fashion and other contemporary lifestyle programming.
The Aerial Dynamics installation commissioned by Coca-Cola, is a living, breathing light show that has been designed to emulate the effervescent energy released when a bottle of Coca-Cola is served and shared.
180 bespoke mechatronic ‘bubbles’ glow rhythmically and are controlled with individual code. Each bubble has eight polypropylene blades that fold intricately in on themselves and embedded sensors trigger the blades and bubbles to glow with red and white LED lighting. These light patterns become increasingly intricate as the number of participants grow.
The Memory Project was an exciting community artwork by Jason Bruges Studio that toured London, Liverpool and Edinburgh. The work used cutting-edge technology to explore the temporary nature of our digital memories, drawing on the theme of ‘nothing is lost’.
Physically reminiscent of a Victorian cyclorama, The Memory Project is a 10 foot high cylinder with eleven cameras placed equidistance around its perimeter. Each of these cameras takes a picture in sequence every five seconds, creating a 360 degree, digital panorama of the outside location very minute. Animated lights on The Memory Project’s exterior shell signal when each camera is about to take a shot.
In a modern twist on the traditional pulling of a silk cloth to reveal a beautifully crafted car, Jason Bruges Studio brought the new Aston Martin One 77 into the light through the dynamic use of 700 super slim white OLEDs. The angled cloud of Philips Lumiblade OLEDs, held in bespoke housings on the end of barely visible slim black stalks, enabled the lights to reflect dramatically off the sculpted curves of the supercar. The studio programmed a specially coordinated light sequence paired with a crescendoed soundscape to build a sense of speed and motion as the customer is handed their keys, in order to create an unprecedented immersive experience that reflects the thrill of owning the One 77.
In partnership with designer Paul Blackburn, Jason Bruges Studio created an interactive space, designed to engage visitors and enabling them to become an integral part of Amnesty.
The exhibition included responsive light boxes that double up as window shutters. The light boxes show commissioned portraits of Amnesty supporters by photographer Neil Massey, which light up when visitors approach.
Over 500 metres of reactive lighting was designed and installed for the BFGoodrich ‘Awesomecross’ race event for the launch of their new high performance tyre. The race used real time performance data to illustrate the ‘fun’ the tyres were having, with Jason Bruges Studio designed custom hardware and software to measure and visualise the tyre conditions and driver performance.
The bespoke track offered a next-generation race experience for participants, with LEDlight tubes lining the most important track features. Using live position, acceleration and lateral G-force data, the lights were illuminated in turn to show race progress, with both G-force and lap performance data visualised across the tubes allowing the drivers to race themselves, intensifying the race experience.
A custom sensor and lighting package was mounted into the back of each vehicle with acceleration and lateral G-force telemetry instantaneously visualised on each car through a system of LEDlights mounted in the wheel wells. To encourage the highest performance, drivers who pulled over 1G of lateral acceleration while cornering activated a special achievement mode causing the tyres and lights around the track to flash.
Jason Bruges Studio was asked to produce responsive light systems for four sets: Three of the sets included a desk behind which one of the DJ's from the various 1Xtra shows would sit.
Set 1 was a corridor of Fluorescent tubes which animated as the camera tracked past.
Set 2 was a large grid of Cold Cathode Fluorescent lamps which were animated with a bespoke control system. They produced a materialisation animation that tracked in with the camera, and then a dematerialisation animation which left the set in darkness as the camera panned to the next scene.
Set 3 was an LED curtain backdrop which had 100mm pitch LED's covering the surface. The desk was clad in LED tiles with 50mm pitch. Both surfaces played sweeping colour field animations as they were filmed. The animations were driven by an LED video control system.
Set 4 was also built with Cold Cathode Fluorescent Lamps, though this time they were all vertically aligned and gelled to produce a red light. The animation slowly appeared from the lamps at the front of the desk, and then filtered across to the wall behind.
The studio was commissioned by C.P.Hart to explore the concept of water flow to fabricate a unique and dramatic sculpture. Clear, water-filled glass hemispheres hang from the ceiling and are used as lenses to create forever changing light patterns using computer-controlled LEDs and fans.
We suspended a series of water pixels from the ceiling, which have been choreographed to animate and create auroras of light around the sculpture itself. Each of the glass bowls acts as an individual pixel and is then animated through pulse work modulated control. We see extraordinary lighting effects as a result of this animation.
Jason Bruges Studio has interpreted a classic lamp, rethinking its form and experimenting with intelligent surfaces to create an element of the unexpected. Flatliner’s seemingly impossibly thin black acrylic disc embedded with 240 LED’s is both refined and durable whilst providing a warm, functional light.
The energy efficient light is interactive and dimmable by the touch of your hand to the surface. Flatliner is available as a floor and table light as well as two sizes of suspension light.
The Mercedes Drive Thru was a temporary interdisciplinary art and dining experience hosted in the lobby of the old Selfridges Hotel in central London, to launch the new A Class Mercedes. Jason Bruges Studio worked with leading food artists Sam Bompas and Harry Parr to present a spectacular mix of light art and food, designed to turn the enjoyment of ‘drive thru’ in-car dining into an exceptional sensory experience.
Through the interaction of food, light and the unique design of the restaurant, the Mercedes Drive Thru explored the environment of the motor car on a performance, experimental and sensory level and at the same time indulged guests with an exquisite and unforgettable dining experience. With an installation comprised of constantly moving lights sources, Bompas & Parr and the interaction designers at Jason Bruges Studio also showed off the dynamic design of the new compact Mercedes sports model to impressive effect.
Jason Bruges Studio was commissioned by Havells-Sylvania - the Lighting arm of India’s largest lighting and electrical manufacturer. The aim was to transform an underused section of London’s Southbank Centre, located under Hungerford Bridge at Southbank Centre.
The ‘21st Century Light Space Modulator’ used technology and culture together to create an architecturally lit, creative space, in an area that sees 22 million visitors each year.
By blending Eastern and Western influences, the installation combined creativity, innovation and interaction with a kit of parts from Havells-Sylvania’s portfolio. Jason Bruges Studio previewed its ‘21st Century Light Space Modulator’ at Southbank Centre in July 2012 and then worked on developing the installation for its full unveiling in the Autumn that year.
This temporary installation was the first part of a trilogy for Veuve Clicquot’s 2008 Season. Seen at Goodwood and Cowdray Park.
At 4m high, the flags form a matrix containing more than 30 individual nodes, each programmed to respond to specific variables of activity. The ephemeral array will sit within the scenery of seasonal events; of pennants, bunting and billowing flags. Event data is recorded, analysed and finally played back as part of a performance at the end of the tour.
Jason Bruges Studio was commissioned by Dyson to create and ad, specifically for Japanese Broadcast, to reverse the perception of a bladeless fan lacking power.
The Studio collaborated with creative production studio, Mainframe, to show an engineer’s testing lab. They did this with an array of Pinwheels being driven by one Dyson Air Multiplier. The Studio designed and engineered the Pinwheels, perfecting the final design after extensive material, structure and dynamic testing.
Mainframe designed the testing lab set, and shot everything in camera with only clean up and grading left to post production.
Jason Bruges Studio created a state of the art ‘hatchery’ for Channel 4’s key Easter broadcast, Easter Eggs Live.
In a TV and science first, the program, presented by Mark Evans, showed fascinating imagery of a wide range of eggs hatching; from crocodiles to cockroaches, fish to frogs and turtles to termites.
An East London studio was transformed into a striking, modern studio, with around 60 incubator boxes created by Jason Bruges Studio. The team worked closely with Channel 4 on the brief, to provide a set that is fully able to support and enhance such dynamic and detailed filming.
The incubator boxes included bespoke macro cameras to allow viewers unparalleled, real time access to the fascinating hatching process. 5×6 metre wide projection screens were set up to show these captivating images on a larger scale.
In a fascinating new insight into embryonic behavior, light was directly shone through larger eggs, to reveal the embryo while still in the shell. The team designed the set to provide a futuristic, sci-fi feel, employing light box surfaces and a black projection surface to provide an ambient feel.
Easter Eggs Live aired on Channel 4 on Sunday March 31st and Monday April 1st 2013, with live streaming from the hatchery running from March 25th 2013.
Commissioned for Milan Furniture Fair 2010 by Philips Lumiblade, Jason Bruges Studio’s ‘Mimosa’ is a captivating and interactive artwork that mimics responsive plant systems. The piece was inspired by the Mimosa family of plants which make kinetic changes to suit their environmental conditions and uses individual slim Luminade OLEDs to create delicate light petals, forming flowers that open and close in response to visitors.
MEC commissioned Jason Bruges Studio to design and build an interactive installation to celebrate Cannes Lions Innovation festival. The visual art piece, named EmotiCannes is an anamorphic digital installation made up of 180 small screens that, from certain vantage points, resolve into the icon of the Cannes Festival of Creativity, the Lion.
Using entirely bespoke hardware and software, the Lion displays the emotion of the Festival using data drawn in real-time from social media. Viewed from a distance the Lion is a barometer of the social media sentiment surrounding the Festival. When approached it reveals data that gives an insight into the prevailing mood of the Festival crowd. Like a chameleon reacting to different stimulus, the installation shifts and changes its colours and projections in sympathy with the 10,000+ festival attendees.
The unique hardware and software solution that includes 180 Raspberry Pi boards connected at the back of each screen, allows each display to be controlled separately or in unison, offering an infinite amount of screen configurations that mean no individual will provoke the same response from the installation.
EmotiCannes represents MEC’s capability to uncover real-time insights and is one of several MEC always-on innovations; taking vast amounts of data and turning it into intuitive, useful visualizations.
The intervention along a 1.5 km route from the Cultural Quarter to the Peepul Centre was woven into the existing street landscape. In order to create something purposeful, Jason Bruges Studio undertook an audit of street furniture, surfaces, materials, and opportunities. The street lighting, developed with Urbis/ Aquilla responds to the flow of traffic and creates a visual barcode referencing the colours from the passing traffic.
In the early stages of the project the team talked to local communities and assessed the different ways in which the area is used. Focusing on the carnival route, Jason met with carnival designers to understand this vital aspect of local culture and incorporated his findings into the installations, particularly the use of colour-blocking in carnival design.
Commissioned by Reiss Stores for its Stockholm branch in Sweden, this digital chandelier comprises of 650 acrylic shard points of light, suspended from the ceiling.
Waves of white light ripple across the chandelier, directed from the entrance of the store inwards, enticing potential customers from the streets and inside to explore.
The project was a finalist in the Lighting Design Awards 2007.
Location: London, UK
Jason Bruges Studio was commissioned to create an interactive table and chandelier in the meeting room for the digital design consultancy Poke. The Studio embedded a series of RFIDantennas within the table surface, which allowed for real time location mapping of objects and people.
Above the table, a cloud of 100 points of light interacts with this movement, creating a perpetually changing visual landscape of tracked activity.
Becks’ 2011 Green Box Project was a worldwide experiment bringing specially-commissioned digital work to life via people’s mobile phones using state-of-the-art augmented reality technology. The project was established to inspire, celebrate and financially support independent talent in art, design, music and fashion.
Jason Bruges Studio was commissioned by Mother London to design and build an illuminated ‘green box’ to act as the physical symbol and key to the ‘Becks Augmented Reality Gallery’.
Passersby were encouraged to download the Becks ‘Green Box Project’ app which then allowed them to view uniquely commissioned artworks from some of the world’s best artists. Thirty commissions were visible via the Green Boxes in London, Manchester, New York, Los Angeles, Miami, Rome and Milan.
The boxes were illuminated day and night, and were fitted with lights that switched on via a timer inside the base of the box.
Jason Bruges Studio was commissioned to design and build lit sculptures for trailers of the new BBC Radio 4 series, The Listening Project. Working together with Karmarama, Red Bee Media and director Giles Revell, they produced sculpted names that react to the audio with the internal lighting.
Shot on two locations in the south of England, pebbly Brighton beach and the Fairytale Firle, the two trailers create a visual experience that enhances the people and stories without taking anything away from the power of their spoken words.
Working with two specially edited conversations from, The Listening Project programme, the studio collaborated with director Giles Revell to design a sensitive manifestation of the already charming conversations of Beryl & Graham, and Sasha & Paddy. The bespoke “name objects” emanate light from within, in character with the voices. Unspoken and spoken moments between the characters were considered closely, with colour and form of the lights in-flux with the emotional atmosphere of the conversation.