adrienlucca

CLICK ON THE PICTURES!

Tag: color

In-situ test for “Yellowless Corridor”, a future artwork in Maashaven station, Rotterdam, NL

DSC_7794.jpg

Somebody brought a yellow jacket…

Advertisements

Microkosmos at night

Microkosmos_outside_3

Illumination by 4 custom “Special warm-white” light fixtures:

SWW

…and on the diaporama below, the difference between day and night:

This slideshow requires JavaScript.

 

Text for the inauguration of Microkosmos in Brussels

Jupiler under Special Warm-White light

A glass of Jupiler beer under Special Warm-White light

 

mik3

A fragment of the wall painting as seen in Daylight

_

Microkosmos – a mural and a lighting apparatus installed in the patio of Het Huys is an installation by Adrien lucca. Multicolor and soft-looking during when illuminated by Daylight, the mural becomes bicolored and very saturated at night, when the artificial Special Warm-White light illuminates it. This light, an invention of the artist, appears first familiar but acts like a color-correction filter in real life. Indeed, this light increases the saturation of most colors while it causes some yellows, greens and violets to vanish into reds, blues or grays.

These two possible states of the installation and all the grades in-between are a symbol of the diversity of Het Huys public and activities. At night, Microkosmos transforms for example the color of blond beer into the color of rosé wine, like in a collective, pleasing and surprising hallucinogenic experiment.

*

Microkosmos, une fresque et un dispositif d’éclairage spécial installés dans le patio de Het Huys, est une œuvre de l’artiste Adrien Lucca. D’apparence multicolore et douce éclairée par la lumière du jour, la fresque devient bicolore et très vivement colorée à la tombée du jour, éclairée par une lumière spéciale blanc-chaud créée par l’artiste. Cette lumière, inventée par Lucca, apparaît tout d’abord familière, mais elle agit comme un filtre de correction des couleurs « In real life » : elle augmente la saturation de la plupart des couleurs tandis qu’elle fait disparaître certains jaunes, verts et violets devenant rouges, bleus ou gris.

Ces deux états possibles de l’œuvre et leurs gradations intermédiaires symbolisent la diversité du public ainsi que l’éventail d’activités proposées à Het Huys. De nuit, Microkosmos transforme par exemple de nuit la couleur de la bière blonde en celle du vin rosé, comme une expérience d’hallucination collective, plaisante et étonnante.

Lecture in Toronto

Soleil de minuit – Craft, Art & Color Science

*

Hopefully fun, interesting and informative:

My lecture at the Canadian Craft Biennial at OCAD University (Toronto) on September 16, 2017

Full conference program available on:

http://canadiancraftbiennial.ca/symposium/about/

Abstract:

Soleil de minuit (2015-2017) is a permanent Glass Art installation in the metro station Place-D’Armes in Montréal, Québec, Canada.

It has been crafted by the French artist Adrien Lucca in collaboration with the glass studio Debongnie (Belgium). Produced in the context of an exchange of artwork between the cities of Brussels and Montréal, Soleil de minuit is made of 14 panels of epoxy-laminated mouthblown “Lamberts” glass “pixels”. Each panel is individually framed within the 1960’s concrete “modernist” architecture of the metro station, and backlit by high-end white LEDs. Its design is based on the idea of permanently transporting the color of Brussels sunlight during the summer solstice at sunrise into the metro station, in 14 steps from dawn to day. From a technical point of view, Soleil de minuit has overcome several challenges: The epoxy-lamination technique has been created from scratch by the studio Debongnie to produce large, unique glass panels measuring 207 x 157 cm, each weighing 210 kg.  Each panel represents a circular light figure, made of 1813 colored glass “pixels”, which has been generated by an algorithm coded by the artist. This algorithm acts like a bridge between the physics of colored glass, craft and visual arts. It implies physical measurements of the glass color properties in relation to their interaction with the selected LEDs, it generates 14 full-size maps for the production in the glass studio, and it allows the artist to precisely select colors among the 5000+ references available in the Lamberts antique glass factory in Waldsassen (Germany).

 

Thank you Kathy Kranias for inviting me to the Biennial!

Thanks: Vitraux d’art Debongnie, Glasshütte Lamberts, Bruxelles Mobilité, Société de transport de Montréal, GVA lighting, Aelbrecht-Maes metaalconstructies, DIX au carré, été78, Speculoos

Yellow flower VS Special White light

Video by Benoit Dusart, 2017

3rd of 3 projects at été 78

été78 p3 b

été78 p3

Hommage à Edwin H. Land, 2017

Halogen lamps, special white lamp designed in collaboration with GVA lighting (model FL-100), various objects

_

The space is illuminated by two different white lights that have the same whiteness and color temperature (about 3000K). Common colorful objects are displayed on two pedestals: fruits, flowers, color samples, beer bottles, etc.

The objects illuminated by the special white light dramatically change: pilsener beer look like sparkling rosé, dull blue objects appear bright turquoise, warm yellow plastic becomes bright orange, lemons become whitish, dark purple flowers appear dullish blue.

All colors except for white, grey and black are changing. People with “normal” color vision are experiencing something like color-blindness. People’s skin and blue eyes also change, they somehow appear more beautiful…

_

Here’s the text written for the show (in French):

Opening, 2nd of 3 projets @ été78

There’s still a chance to see this 2nd chapter of the exhibition on Saturday March 11 at été78, rue de l’été 78, 1050 Brussels.

Exhibition views, été78, 1st of “3 projets”

Diaporama

Views from the 1st part of the exhibition “Mémoire d’atelier sur trois projets” at été78 in Brussels. The text draft is available here: Soleil de minuit text

Contrast

14h-copy

2PM

13h-copy

1PM – sun starts illuminating the background

 

No comment

Rosace, quasicristal dodécagonal

baie-100

Variations of the visual appearance of a stained glass window during the course of the sun in the sky.

This slideshow requires JavaScript.

Le ciel, le soleil et un vitrail orienté Est

exemple-de-la-baie-0

[Document in French] A timeline of the visual appreance of a stained-glass, in parallel the colors of the Sunlight and the colors of the Sky, during a sunny summer day.

(PC : click-droit > “ouvrir l’image dans un nouvel onglet” pour voir l’image en grand)

(right-click > “open image in a new tab” to zoom)

Sunlight / Stained-glass

This slideshow requires JavaScript.

Simulation of the changing visual appearance of an East-oriented Stained-glass window depending on the daylight color and orientation:

7:30 AM: before the sun rises, the sky illuminates the window

7:45 AM: a yellow Sunlight reaches the window

8:00 AM: the Sunlight is already whiter

12:00 AM: the Sunlight is white

12:30 AM: the Sunlight disappears, only the sky illuminates the window

4:00 PM: idem

6:00 & 8:00 PM: the sky’s color changes slightly

All this has been simulated using physical data about the light of the Sun and the Sky in the south of France, and physical data acquired by scanning colored glass with a spectrophotometer.

 

Glass-light interactions on the prototype

window-detail

With the studio Debongnie (http://vitraux-debongnie.be), we are working on a Stained-Glass prototype to be installed in a 13th Century Cistercian Abbey in the south of France. My project passed the pre-selection and we are in the final of the competition against 2 other duos artist/glass-studio.

Cistercians didn’t put colors, pictures or crosses on their windows. Their windows were supposedly « albae fiant, et sine crucibus et pricturis » (white – or colorless(?) -, and without cross and representations). Very few original 12 & 13th Century Cistercian windows survived and we know little about how they interpreted this rule.

My proposal is to produce “white light” in the Abbey, by a combination of different optical types and colors: transparent light greenish blue, light blue and light reddish blue mostly, and opalescent whites that diffuse light and are less transparent.

*

This slideshow requires JavaScript.

 

METAMORPHOSIS

During the course of a sunny day, the light will vary. The visual appearance of the window will be changing a lot because of this variation.

Behind the window is a yellowish-white stone-wall. Before noon the window and the wall behind it are in the shadow. Around noon, the sun illuminates the window directly and the opal glass are becoming very bright. During the afternoon the wall behind becomes illuminated, allowing the transparent colors to appear. Finally around 4-5PM the shadow moves on the window and the opal glass stops being so bright.

*

This slideshow requires JavaScript.

GOLD + BLUE = WHITE LIGHT

Interestingly, opal glass will appear white but will project amber light on the walls or the floor of the building. The average color of the light passing through the window has been computed to be white. The glass selected last month in the factory Lamberts in Waldsassen were chosen to produce this effect, and the situation has been simulated with the light spectrum as measured last summer in the south of France.

couleur-avec-le-ciel-copy

BLUE SKY REVEALS THE COLORS

Finally, there’s the possibility of seeing the sky from an angle in the Abbey. When people will look at the window with the sky behind, it will reveal new colors again. What looked almost colorless will appear as different shades of blue and yellowish whites.

 

%d bloggers like this: