by stefanie.weber -

IMPULS #08 Luminous Flora

Project Team:
Dragana Maksimovic, Karolina Malec, Antonia Muszi, Bernadette Pößnicker, Katharina Rauch, Vanessa Stöckel, Stefanie Weber

Concept

Luminous Flora is a captivating, interactive installation that invites visitors to create their own personalized flower arrangements, combining creativity with advanced technology. By using a tablet interface, participants can select and arrange virtual flowers, choosing from various colors and shapes to craft a unique bouquet. The flowers are carefully designed in a 3D program, ensuring that they feel life-like, with textures, colors, and shapes that bring them to life in a digital space. The final creation is then projected onto an abstract custom-made polygonal bouquet, which adds a tangible, three-dimensional aspect to the digital design. This process not only merges art and technology but also empowers participants to explore their creative potential in a completely new way.

The original idea for this project was to collaborate with Blumen B&B, a florist business located in Eggenberg. The goal was to offer an innovative and engaging way for customers to interact with floral arrangements. Visitors could experiment with designing digital bouquets that reflected their personal tastes, providing inspiration for real-world bouquets. This interactive experience was aimed at sparking new ideas and interest in floral design, with the hope that visitors would translate their digital creations into real-world purchases. While the project’s initial concept also included printing a tangible version of each digital bouquet, this was eventually left out due to logistical challenges. Instead, the focus remained on the interactive and immersive nature of the installation, offering visitors a creative and engaging experience through digital technology.

The project highlights the fusion of art and technology, showcasing how digital design can be used to create an interactive, visually stunning experience. Through the use of a tablet interface, participants design their bouquets and see them projected in real-time onto a physical abstract flower bouquet. The app, developed using Protopie and Figma, served as the primary interface for user interaction, and the mapping and projection of the floral designs were achieved with the help of Resolume, ensuring that the digital flowers blended seamlessly into the physical object. The communication between the app and the projector was achieved using OSC messages, enabling the projected design to update in real-time as the user interacted with the tablet interface. This seamless integration of digital and physical elements created a unique experience.


Software and Tools:
App: Figma & Protopie
3D Flowers and Animations: Blender and Adobe After Effects
3D Flower Bouquet Model: Blender, Adobe Illustrator, Lasercutter
Mapping and Projection: Resolume
OSC Messages: Interaction between App and Projector
Physical Setup: Flower Bouquet Sculpture, Bouqet Stand, Bouqet Vase, Beamer Stand, Tablet Stand
Hardware: iPad, MacBook, Beamer, external router, HDMI Cables, power Cables

Project Workflow:
Concept Development
Design Process (App, 3D Flowers, physical Bouquet)
Software Implementation (Protopie, Resolume)
Construction of the Flower Bouquet Sculpture
Construction of the stands
Testing
Hardware Setup
Troubleshooting
Final Adjustments
Supervising and Restarting the Installation during the exhibition
Evaluation

Challenges and Solutions:
Communication and collaboration issues within the group
Technical issues with video rendering and file sizes
Overheating and insufficient airflow for MacBook (and Beamer)
Network connectivity problems (fixed with external router)

Reflection & Challenges

The development and execution of Luminous Flora involved multiple technological and artistic components. The app, which was created using Figma and Protopie, served as an intuitive interface for visitors to design their virtual bouquets. Through a drag-and-drop system, users could select flowers designed in Blender and After Effects, then customize them by changing colors and positions. These virtual bouquets were mapped and projected onto a custom-made polygonal 3D flower bouquet, which acted as the canvas for the projections. The Resolume software was used to map the flowers onto the physical structure, with OSC messages facilitating the communication between the tablet and the projector.

The flower visuals were created mainly in Blender, as the software was used to model the flowers, creating texture, animating the dancing light and rendering the PNG sequences. Each of the three flowers has been rendered in four different colors and from two different camera perspectives. We rendered the PNG sequences in a small resolution (one third of full HD) as suggested in one feedback session. Nevertheless the rendering of the 24 (short) videos took a lot of time as the computer rooms at FH are meanwhile unfortunately locked during the holidays and we used our private laptops. After rendering the sequences we went on to place the flowers into the triangles of the polygon flower bouquet. We used an SVG of the UV unwrapped polygon structure in Adobe After Effects and placed the flowers. To create additional movement and dynamic we added multiple light effects and movement effects onto the videos. At first we rendered the resulting videos in 4K which we discovered later was unnecessary and used full HD videos for the final installation.

The lowpoly bouquet was scribbled by hand and then built in Blender as a 3D model. Based on this model we built the polygon shaped flower bouquet out of bookbinding cardboard. For it to become the lowpoly sculpture in the end, we used the laser cutter to cut different pieces, mainly triangles. These pieces would then fit together in the end to form a big polygon. In the beginning we made latches in order to glue the pieces together. The latches were also a couple millimetres thick and made the shapes not fit together in the end due to their added height. Therefore we had to cut the latches off by hand, and laser cut additional small latch-like pieces with which it was possible to connect the shapes together on the inside. After constructing the sculpture the 3D model for the app was adjusted to the real life model, so the exact same shape is shown in the app.

The physical setup was also an essential part of the experience. A dedicated stand for the tablet ensured that users could interact with the app comfortably, while at the same time it served for the beamer, allowing an optimal positioning of the projections. The polygonal flower bouquet was placed on the opposite and in the center of the room, creating a focal point for the projections and adding depth to the digital designs.

As with any complex project, there were some challenges that arose throughout the development process. One of them was the communication within the group. Since it was a large group and each team member (each major) was responsible for different aspects of the project (e.g., app development, building the polygon flower bouquet, 3D flower design, mapping), we experienced moments where the lack of clear role definitions led to confusion and delays for some people in the group.

From a technical perspective, we faced rendering challenges related to the size of the files used in Resolume. Due to the large number of animations and video files required for the projections, we encountered issues with file sizes that were too large for the software to process efficiently. However, by compressing and converting the files into formats compatible with Resolume, we were able to resolve the issue and maintain the quality of the visual experience. Additionally to avoid reaction errors while dragging the flowers into the different triangle shapes in the app, a good solution would have been to make the entire triangular area in the app responsive, rather than just a selected part.

Another technical problem that arose was the overheating of the MacBook used to run the app and projection system. The stand was not optimal designed for that, leading to insufficient airflow and causing it to overheat. While we managed to temporarily solve this issue during the installation, better planning regarding ventilation and device placement and/or choice is necessary for future setups to avoid overheating. In addition, we faced network connectivity problems when the app was running through the cloud. The Wi-Fi signal was weak, which caused delays in communication. This issue was resolved by using an external router, which significantly improved the connection and allowed the system to function smoothly.

Despite these challenges, the final result was a great success. The project provided an engaging and visually striking experience for participants, combining creativity with technology in a way that encouraged exploration and interaction. The projections were seamless, and the digital bouquets were vibrant and life-like, enhancing the immersive nature of the installation. While there were moments of frustration and technical difficulties, the outcome exceeded our expectations.

Looking back, we recognize that some of the challenges could have been addressed earlier in the process. However, the overall experience was immensely rewarding, both for the team and the visitors. The project allowed us to blend traditional floral design with cutting-edge technology, creating a unique and memorable interactive installation. The envisioned collaboration with Blumen B&B added another layer of relevance to the project, linking the digital and physical worlds of floral design.

Pictures of the final installation:

by mert.altinoez -

Impulse #07: CoSA

Today, I visited the Centre of Science Activities (CoSA) in Graz. CoSA is an interactive science and technology center designed primarily for young people aged 12 and older. It features 13 themed areas where visitors can explore different scientific fields in a hands-on way. For example, the Science section allows visitors to experiment with scientific phenomena, while Vision focuses on future technologies. The space I want to talk about today, though, is Energy.

In Energy, visitors engage with topics like consumption and sustainability in a playful and interactive way. Using a special game token, they can navigate through seven different stations covering energy, mobility, smartphones, clothing, packaging, food, and leisure. Each station presents sustainability-related challenges, encouraging visitors to reflect on their actions, set priorities, and understand the broader impact of their choices. The exhibition also connects personal behavior to global issues, such as the UN’s 17 Sustainable Development Goals. One of the more engaging aspects is that visitors can compare their decisions with others and see who invests more „energy“ into sustainable living.

What I really liked about this space was the gamified experience. It’s not just about absorbing information but actively engaging with it. Visitors learn general concepts about sustainability while also getting a personalized sense of how eco-friendly their everyday choices are. Each station has a unique way of interacting based on its subtopic. For example, in the Energy section, visitors have to crank a handle to play a video and then plug a cable into a power socket to select an answer. In Mobility, visitors power up a screen by riding a stationary bike. The Smartphone station is a modular system where visitors can choose different phone components and see how sustainable their selections are. The Clothing section features various garments with different sustainability ratings, which visitors can scan to learn more about their environmental impact. Some sections were more interactive than others. The Packaging area, for instance, wasn’t as hands-on but had a visually impressive setup with a large screen and a shopping cart in front of it. The Food station was creative, using stove switches to turn on videos that played inside pots, though the placement of the screens required visitors to crouch down to see them properly. The Leisure station, on the other hand, was styled like an arcade machine featuring a game of Snake to illustrate its message.

This visit gave me some valuable takeaways that I hope to incorporate into my master’s project. My goal is to create an interactive experience that teaches people about digital sustainability, much like CoSA does. One key insight is that you shouldn’t expect too much from visitors. There should be no more than two to three interactions per station, and they must be intuitive and quick to engage with. People generally want to explore, try something out, and move on without too much effort or explanation. However, if the experience is immersive enough, they tend to stay longer. Another important consideration is creating an environment that helps visitors focus. Isolating them from external distractions could enhance immersion and engagement. Lastly, the setup should be as self-sufficient as possible. The interactive elements should work seamlessly without requiring constant supervision, explanation, or maintenance. These are crucial lessons that I plan to apply in my upcoming work. Overall, CoSA’s Energy exhibition was an inspiring example of how to make sustainability education both fun and impactful. I left with a lot of ideas and a renewed appreciation for well-designed interactive experiences.

CoSA Energy Space
Links

CoSA: https://www.museum-joanneum.at/cosa-graz

by Hannah Albrecht -

“ontextC” – Technical Diary 9

What happened so far?

Recently, time spent working on the project was dedicated to figuring out how to best turn it into an exhibit that is both somewhat valuable for the user, as well as for research purposes. I knew that it would be important to keep the interface intuitive, and at the same time not to clutter it with information. Furthermore, a good solution was needed to collect parameter data – after some research and experiments I found that the coll object would work best for my purpose, with its ability to capture an index number and separate data input with commas, allowing me to then export the anonymous results as a CSV file. The save button and volume adjustments were non-negotiable, but I struggled a bit with how to best implement options to play back the source sound as well as the processed sound in a way that made sense just from looking at the interface. Another aspect I considered was that I would need a “phantom” slider for the visible interface for the user, meaning that after the previous person saves it always jumps to a random value, but looks as if the slider is back at the center. Like this, test subjects cannot copy the results from the previous person and really have to rely on their hearing to match the processed audio as closely as possible to the source sound.

Preliminary interface for the exhibition/survey

Ongoing

During a supervisor meeting, we tried think of a way to improve the playback situation – ideally three buttons at the centre of the screen would be enough. One option would be to have the playback of the original sound be gated, so that whenever it stops playing, the processed sound starts automatically. It is definitely something that still needs more thought and a better practical solution.

Results and Reflection

That this part of the project will be shown to the public definitely added a new challenge, because now it is not just about whether the software makes sense to me, but also whether it can be translated to a first-time user with little to no experience. The idea of people using their hearing to adjust the parameter in a sort of audioscope-like manner is very interesting to me though, and I look forward to seeing the results – I wonder how accurate the resolution of the parameter has to be for people to not notice a significant difference anymore, and how much it varies between people.

Objectives for Next Time

  • Finalise exhibit version (software)
  • Figure out physical exhibition setup
  • Write guideline how to set up/turn the exhibit off and on for the showcase supervisors
by helene.goedl -

IMPULSE #5 | Exhibition Visit: “Touch & Feel”

From the 10th to the 27th of October 2024, the re:pair festival took place at the MQ Vienna. During the festival, many activities and events took place, all revolving around the topic of repairing and fixing anything from appliances to bicycles, from musical instruments to furniture and, most importantly for me – clothes.

   “The third edition of the re:pair FESTIVAL will take place from October 10 to 27, 2024, with the festival headquarters located in the MuseumsQuartier.

This year’s re:pair FESTIVAL program offers an exciting mix of practice and theory with over 120 events. A variety of workshops will teach creative skills and the joy of repairing. Knowledge will be shared through lectures, ambulances, walks and two exhibitions.

To make the festival accessible to everyone, admission to most events is free.

Repair is an important tool in the fight against the climate crisis. Repair allows for more efficient use of products and more careful use of our resources. And it is easy to integrate into everyday life. Repair is cheap, fun, creative, and empowering.”1

Although I unfortunately missed most of the festival due to sickness and schedule conflicts, I managed to visit one of the exhibitions which was part of the program. The exhibition – curated by Tina Zickler – dealt with the quality of materials in fashion and emphasised the touch aspect of traditional natural materials versus modern materials. The title of the exhibition “Touch & Feel – Quality in Fashion” reflects this.

About the Exhibition “Touch & Feel”

“If you compare the quality of today’s fabrics, buttons and other sewing accessories as well as their workmanship with the standards of 100 years ago, you have to admit a blatant loss of quality. This is why many young people and adults are only familiar with low-quality clothing made from synthetic fibers, especially polyester. The outstanding properties of renewable natural materials – sustainability, durability and comfort – are unknown to many people today. The “Touch & Feel” exhibition shows the quality of fabrics, buttons and other sewing accessories in the past. Linen, silk, wool, rabbit fur, mother-of-pearl, glass and horn buttons versus polyester, polyamide and plastic ->>> Touch & Feel!”2

The exhibition was installed in the “Schauraum der Angewandten im MQ” in the Museum Quarter in Vienna. While the space is quite small, resulting in the exhibition having to be on a reduced scale, it still managed to incorporate several aspects material questions in the fashion system. Natural materials where exhibited in different states of fabrication. Linnen was displayed from the raw material to the first fibre processing to a finished piece of clothing. Visitors were allowed to touch all the exhibits which added considerably to the experience and gave the material component another dimension through which fibre quality could be comprehended.
The natural materials were juxtaposed with textiles made from synthetic fibre. In some cases, it is astonishing how similar the first impression of synthetic materials can be to natural materials. It is only once you touch and feel the materials on the skin that you can really perceive the difference as a wearer. 

Why is this Topic Relevant for my Thesis?

One of the aspects of digital fashion that is interesting to me is that the material quality of clothing, which is such an important aspect of fashion design gets completely lost. An interesting corresponding development in “traditional” fashion design of today – which was also covered in the exhibition – is that the material seems to become less important as well. Particularly in fast fashion, the tactile quality of the textiles seems to not be a priority any more, but the selection of material is much more dominated by considerations of price and outer appearance of the fabric. This has lead to a decline in overall fibre and textile quality across the board in the textile market because buyers are demanding low prices and quickly produced materials rather than sustainably produced and comfortable to wear fabrics. It will be interesting to delve further into the topic of materiality in my further research and writing. 

Images

1MuseumsQuartier Wien. “Re:Pair FESTIVAL.” Accessed November 12, 2024. https://www.mqw.at/en/program/repair-festival.
2re:pair Festival 13.10.–5.11.2023, Programm – Re:Pair Festival 10.-27.10.2024. (Translated by DeepL)

Sources

“Re:Pair FESTIVAL,” MuseumsQuartier Wien, accessed November 12, 2024, https://www.mqw.at/en/program/repair-festival.

re:pair Festival 13.10.–5.11.2023, Programm – Re:Pair Festival 10.-27.10.2024, October 11, 2024, Re:Pair Festival 10.-27.10.2024, October 11, 2024, https://repair-festival.wien/programm/?date=2024-10-11.

All Images © Helene Goedl 2024

by helene.goedl -

IMPULSE #2 | Event: “ORF Lange Nacht der Museen” – Mode Wien Pop Up Museum

On Saturday, October 5, 2024, this year’s “ORF Lange Nacht der Museen” (“night of museums”) took place throughout Austria. For the 24th time, the event allowed visitors to explore a large number of museums with just one ticket. Once again this year, numerous museums and galleries participated in the event and opened their doors from 6.00 pm to midnight.

In addition to varied exhibitions, many exciting special events were part of the evening. Visitors could choose their personal highlights from the wide range on offer and visit all participating museums and events with just one ticket. The participating museums offered a wide range of experiences, from small, curious and eccentric locations to large, renowned cultural institutions.1

I decided to explore the “long night” in Vienna this year, and one of the participating institutions I selected for one of my visits was of special interest to my thesis topic and my research into digital fashion.
The PopUp Museum of Mode Wien in the Guild House of Viennese Fashion Makers was located in the historic center of Vienna. The site used to serve as an accommodation for itinerant garment makers. The exhibition “Symbiosis”, which was on display during the “long night” pays tribute to the creative energy and craftsmanship of the Viennese fashion scene.2

Why was this Exhibition relevant for my Thesis?

In my research into fashion design, one component of interest for my research is the way fashion is displayed in museum exhibitions. Fashion has a long history of “fighting” to be viewed as an art form, often times being perceived as lesser than classic artistic disciplines such as painting, sculpture or even literature and music. The idea that fashion is more trivial as an artistic discipline certainly has many underlying causes, not least of which is the aspect that fashion was and is to this day perceived as a female domain as well as a part of pop culture, which lowers its merit in the eyes of certain fractions of the art scene. Interest in fashion is not often equated to other interests in the arts, often being dismissed as something mundane and trivial. In recent years however, the perception of fashion has shifted and the artistic merit of the craft as a discipline of art is finally gaining more traction. Along with this tension of fighting for its place in the art cannon, exhibiting fashion can be a challenge because fashion usually depends to a certain extent on the incorporation of movement, body and the context of being worn. This makes it a challenge to exhibit in an engaging way.

Exhibition Review

The space in the guild house was divided into sections. In one of the rooms, the exhibition “Symbiosis” was displayed. This exhibition featured designs from Viennese fashion designers in correspondence with artworks by local artists, all elaborating on the same topic. The correspondence between the garments and the art pieces created an interesting dialogue and extended and re-contextualized the designs on display. The overall exhibition design however, was unfortunately not quite as successful as it could have been. Since the “long night” always attracts a large number of visitors, the exhibition was quite crowded and the space did not provide good opportunities for easy crowd guidance, resulting in a rather hurried exhibition experience. 

The other section of the space was dedicated to a pop up shop where some local designers had the opportunity to sell some of their designs and give insights into their design process. The designers were present and this provided an opportunity to ask further questions about their creations which was a nice component. Overall however, I would have preferred if they could have dedicated the whole space to the exhibition concept in favour of a better visitor flow and a more pleasant overall visiting experience. It became quite clear that the exhibition was likely more of an afterthought and the pop up shop spatially took priority over it, which was a pity. Although I understand the overall concept and I appreciate the approach with the correspondence to other art disciplines, I must say that I have seen fashion exhibited in more engaging ways in other museums, such as the exhibition “Dressing the Body” at the Disseny Hub Barcelona. 

Images

1ORF Lange Nacht Der Museen. “Info,” 2024. https://langenacht.orf.at/info.
2ORF Marketing & Creation GmbH & Co KG. “ORF Lange Nacht der Museen Booklet.” Press release, 2024.

Sources

“Dressing the Body. Silhouettes and Fashion (1550-2015),” Disseny Hub Barcelona, December 12, 2023, https://www.dissenyhub.barcelona/en/exhibition/dressing-body-silhouettes-and-fashion-1550-2015.

“Info,” ORF Lange Nacht Der Museen, 2024, https://langenacht.orf.at/info.

ORF Marketing & Creation GmbH & Co KG, “ORF Lange Nacht der Museen Booklet,” Press release, 2024, accessed November 11, 2024.

All Images © Helene Goedl 2024

by helene.goedl -

02 | Beobachtungen zur Anwendung von Bewegtbildmedien im Ausstellungskontext der 18. Architekturbiennale Venedig 2023

In den Beiträgen zur 18. Architekturbiennale 2023 werden vielfältige unterschiedliche Themen aufgegriffen und visualisiert. Auseinandersetzungen mit diversen Fragestellungen unserer Zeit sind in den Pavillons der vertretenen Länder zu sehen. Wenngleich sie gestalterisch klar voneinander unterscheidbar sind, haben viele der Beiträge zur Biennale 2023 doch eines gemeinsam: in beinahe allen kommen Bewegtbildmedien auf die ein- oder andere Art zum Einsatz. In diesem Blogbeitrag werden die beobachteten Einsatzmodalitäten überblicksmäßig vorgestellt.

Dokumentarische Ansätze

Ein Teil der Bewegtbildbeiträge lässt sich in den dokumentarischen Bereich einteilen. Der Kanadische Pavillon thematisiert das Problem des leitbaren Wohnens und der Landnutzung und setzt unter anderem einen kurzdokumentarischen Film ein. Im Pavillon der Niederlande wird sich den Themen Wassernutzung und Geldfluss in der Wirtschaft gewidmet. Hierzu gibt es ein Videointerview mit den beteiligten Künstler:innen zu sehen. Ebenfalls ein Interviewformat kommt im Finnischen Pavillon zum Einsatz, hier wird in einem Expertinneninterview das Thema alternativer Toilettenlösungen für die Zukunft diskutiert.

Übergänge von dokumentarischen zu künstlerischen Ansätzen

In mehreren Pavillons kommen Bewegtbildbeiträge zum Einsatz, die sich zwischen klassischer Dokumentation und künstlerischem Ansatz bewegen. Im Britischen Pavillon werden unterschiedliche dokumentarisch-künstlerische Filme gezeigt, die sich mit kulturellen Ritualen beschäftigen. Im Brasilianischen Beitrag verwischt ein Videobeitrag die Grenzen zwischen realer Dokumentation und fiktionalisierter Darstellung.

Künstlerische Ansätze

Vielfältig sind auch die Beiträge, die sich in die Kategorie der künstlerischen Ansätze einteilen lassen. Finnland zeigt neben dem bereits erwähnten realen Expertinneninterview auch einen fiktionalen Dokumentarfilm aus einer Zukunft, in der es keine wasserbetriebenen Toiletten mehr gibt. Mehrere Länder wie Albanien, Australien oder Serbien zeigen komplett abstrakte künstlerische Bewegtbildbeiträte.

Präsentationsmodalitäten

Nicht nur die Inhalte der Bewegtbildbeiträge sind individuell unterschiedlich gestaltet, auch die Präsentationsformen unterscheiden sich. In einigen Pavillons kommen klassische Präsentationsmodalitäten wie einfache Bildschirme und Projektionen auf Leinwand zum Einsatz. Andere Pavillons setzen auf kreativere Präsentationsformen, wie in den Bildbeispielen unten gezeigt. Serbien kombiniert eine Bodenprojektion mit einem Spiegel an der decke, der die Projektion wie einen weitergeführten Ring erscheinen lässt. Im Finnischen Pavillon kommt eine Konstellation von mehreren Bildschirmen unterschiedlicher Größen zum Einsatz, auf denen unterschiedlich aufgeteilte Komponenten der Videoinstallation wiedergegeben werden. Im Australischen Pavillon wird großflächig an die Wand projiziert.

Abschließend

Zum Abschluss lässt sich zusammenfassen, dass die Einbindung von Bewegtbildmedien im Ausstellungskontext vielfältig gestaltet werden kann. Es zeigt sich am Beispiel der Biennale, dass die Bewegtbildmedien international und über unterschiedliche Kunstdisziplinen hinweg Relevanz zu haben scheinen.
Nicht nur die Inhalte der Bewegtbildbeiträge, auch die Präsentationsformen können auf unterschiedlichste Weise konzipiert werden. So können Bewegtbildmedien den Ausstellungskontext erweitern, Zusatzinformationen bereitstellen, die künstlerische Aussage einer Ausstellung aufgreifen, darstellen und unterstützen und diverse weitere Funktionen erfüllen.