Step into the realm where the minimalism of the 1960s Light and Space movement intertwines with contemporary high-tech algorithms and sensors. Back then, light artists like James Turrell, Dan Flavin, and Robert Irwin captivated audiences with the bare essentials, using precisely daylight or lamps to heighten visual perception. Fast forward to today, Chromasonic takes this synergy of light and color but augments it with sound and algorithms. Envisioned as a global network to experience the harmony of body and mind, Johannes Girardoni’s team unveiled the first satellite of perception in the heart of Venice Beach, California. Through a collaboration with Google, Milan Design Week showcased how the interplay of light and color can go on tour as a walk-in installation on a larger scale.
Turrell’s minimalism extends to the elimination of tangible objects in his creations, as he delves into the realms of space and perception. Playing deliberately with vast, plain surfaces with cleverly concealed light sources, he crafts environments devoid of focal points and where the gradual shifts of twilight hues breathe mystical life into his “Skyspaces”. Conversely, Dan Flavin’s installations, marked by graphically arranged fluorescent lamps, emanate technicality, because the fluorescent lamps are not given any additional design. Meanwhile, Robert Irwin’s projects, exemplified by “Excursus: Homage to the Square3,” derive their allure from translucent room-high scrims with vertical fluorescent tubes, subtly dynamically animated by the interplay of sunlight throughout the day.
Chromasonic follows in the footsteps of California’s seminal Light and Space movement, employing simple geometries and lines of colored light. Yet, it pushes the boundaries by incorporating sound for a synesthetic journey. Unseen but indirectly present, a technology from Silicon Valley introduces algorithms and sensors for dynamic experiences.
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Johannes Girardoni chose a former warehouse close to his office as the ideal setting for “Satellite One,” envisioning not only an experiential haven but also a versatile research laboratory. Within this cocoon designed to evoke emotions, softness pervades the interior, suffused with diffuse light that casts scarcely a shadow. Its outward facade, crafted with wooden framing reminiscent of shipbuilding techniques, stands as a testament to meticulous construction.
Since 2021, up to eight individuals at a time have reclined on headrests encircling the central light column, immersing themselves in contemplation as they gaze upon the walls and ceiling. The column with its color-changing lines of light, which look like glowing flutings, is reminiscent of Dan Flavin’s fluorescent lamps and his geometries. The room’s white surfaces mirror the hues of the central column, rendering the space devoid of shadows and edges, evoking an ethereal dematerialization.
In subsequent endeavors, Girardoni and his team ventured into experimentation, exploring cubes and frames consisting of delicate scrims and colored light for installations such as “Field Study” in Long Beach and “Fluid State” in Telluride’s Deep Creek Mine. The strict, rational lines of these structures stand in stark contrast to the Venice Beach cocoon, yet the interplay of diffuse light and overlapping layers of scrims fosters a delicate balance.
As a multimedia artist, Girardoni has long been interested in the interplay of light and sound and created the concept of “Refrequencing” with the first installation “The Passage Room” in 2009. Teaming up with musician Orpheo McCord and composer Joel Shearer, “Refrequencing” has been adopted by Chromasonic. This real-time algorithmic process intertwines light and sound to evoke a fluid stream of activation and adaptation for visitors. Girardoni explains, “We aimed to strip away the narrative of sound recognition, creating an experience where analog sounds meld seamlessly with the environment.” Spatial synthesis takes precedence, with Girardoni elaborating, “We take our light stimulus and generate sound from the frequency information of the light in real time through granular synthesis.” Chromasonic’s future envisions leveraging wave data, such as biometric inputs, to craft dynamic experiences in real time.
With new technologies in the areas of lighting and software, there are now more and more offers for people with a longing for immersive spaces. Visionary artists have taken advantage of these opportunities, crafting destinations that beckon tourists worldwide. The Greek composer and architect Iannis Xenakis (1922-2001) can be regarded as a pioneer in the field with his multimedia installations Polytopes and Diatope in the 1970s. Culturespaces, a pioneer in digital art centers and immersive exhibitions for over a decade, commenced its journey with “Carrières de Lumières” in Provence, France in 2012. This vast cavern, carved from a former quarry, metamorphoses into a dynamic three-dimensional canvas using light and sound, inviting visitors to immerse themselves in cultural marvels, from Vincent van Gogh’s masterpieces to the wonders of the Egyptian pharaohs. In comparison, Refik Anadol showcases the power of artificial intelligence in condensing information through intricate data sculptures, exemplified by his “Archive Dreaming” project of 2017.
In stark contrast to large LED screens and projections, Christoph Bauder orchestrates expansive kinetic installations at a former Berlin factory site with “Dark Matters.” Here, light, movement, and sound intertwine to choreograph emotional narratives, with kinetic dots and lines creating mesmerizing technoid spaces. Chromasonic’s design ethos, by comparison, emanates simplicity, drawing inspiration from the minimalism of the Light and Space movement.
A pivotal milestone for Chromasonic unfolded at Milan Design Week 2024 with the “Making Sense of Color” project, scaling up their prototype “Field Study” into a grand installation at one of the world’s premier design shows. Collaborating with Ivy Ross, Google’s Vice President of Hardware Design, underscores this expansion. Twenty-one semi-transparent volumes transform color into sound through innovative lighting and re-frequencing technology, bridging visual and auditory realms.” We create a condition where you can see sound or hear light,” Girardoni observes.
Amidst our technologically saturated existence, from smartphones to wearables and satellites, the resurgence of Californian minimalism from the 1960s gains newfound relevance. Girardoni elucidates, ” In Chromasonic we really try to embrace how we can use sensory technology and artificial sensing in ways that actually enhance our own sense of presence, awareness, and connection. We are using technology to algorithmically connect and expand our natural perceptions so that we don’t have to just rely on our natural perception, but to augment it through technology in a harmonious way.” Chromasonic’s half-hour immersive sessions at Satellite One can serve as an introduction to a paradigm shift for fatigued digital natives of the indoor generation, offering a moment of reflection on the indispensability of algorithms and technology for relaxation. Through colored lighting and sound, they embark on a journey to reassess their perceptions and contemplate the essence of art, space, and life.
Light matters, a column on light and space, is written by Dr. Thomas Schielke. Based in Germany, he is fascinated by architectural lighting and works as a trainer for the lighting company ERCO. He has published numerous articles and co-authored the books “Light Perspectives” and “SuperLux”. For more information check www.erco.com and www.arclighting.de.
