View allAll Photos Tagged lightprojection
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The former Metropolitan Gas Company building is a fine example of Neo Gothic style. Designed by Reed, Smart and Tappin and built in 1892, the Metropolitan Gas Company building was originally faced in red brick and Waurn Ponds stone, but in the 1930s its facade had fallen in to disrepair and the building was refaced in synthetic stone, composed of ground Pyrmont sandstone mixed with white cement. The building was the headquarters of the Metropolitan Gas Company for many years, and was then the headquarters for its successor the Victorian Gas and Fuel Corporation, until 1967 when the organisation moved to new buildings directly across the road (which have since been demolished). After the Victorian Gas and Fuel Corporation's departure, for several years the building was occupied by Clark Rubber.
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The Forum and Rapallo Cinemas, formerly the State Theatre, were designed by the American cinema architect John Eberson in association with the prominent Melbourne architects Bohringer, Taylor and Johnson in 1928. It was built at the climax of the boom years in cinema construction, and was operated by Union Theatres. It had the largest capacity of any cinema in the country with 3371 seats. Unlike most picture palaces, this form of cinema design attempted to create the illusion of an exotic walled garden in the auditorium, complete with appropriate statuary, a blue ceiling, twinkling stars and projected clouds. The interior incorporates elements of Italian medieval, Renaissance, Baroque and Spanish Mission styles combined with bold classical Roman and Renaissance architectural forms to create a lush, impossibly exotic atmosphere. Externally the building is a Moorish fantasy with a jewelled clock tower with a copper clad Saracenic dome, minarets and barley sugar columns and rich pressed cement decoration. Construction is steel frame and brick.
June 4th, 2012.
Sydney will once again be transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 25 May – 11 June 2012.
Colouring the city with creativity and inspiration, Vivid Sydney highlights include the hugely popular immersive light installations and projections; performances from local and international musicians at Vivid LIVE at Sydney Opera House and the new Vivid Ideas Exchange at the MCA featuring public talks and debates from leading global creative thinkers.
Vivid Sydney is a major celebration of the creative industries and the biggest festival of its kind in the Southern Hemisphere, attracting over 400,000 attendees in 2011.
From Wikipedia:
The Customs House is an historic Sydney landmark located in the city's Circular Quay area. Constructed initially in 1844-1845, the building served as the headquarters of the Customs Service until 1990. Ownership was then transferred from the Commonwealth Government of Australia to the City of Sydney Council in 1994, when it became a venue for exhibitions and private functions.
After being refurbished in 2003, it has also become the new home of the City of Sydney Library.
People of the Eora tribe are said to have witnessed from the site, in 1788, the landing of the First Fleet. Convict David O'Connor was hanged on the site in 1790 and it is said that his ghost haunts the Customs House to this day, offering people rum.
The driving force behind the construction of the original sandstone edifice on Circular Quay was Colonel John George Nathaniel Gibbes (1787-1873), the Collector of Customs for New South Wales for a record term of 25 years from 1834 to 1859. Colonel Gibbes persuaded the Governor of NSW, Sir George Gipps, to begin construction of the Customs House in 1844 in response to Sydney's growing volume of maritime trade. The building project also doubled as an unemployment relief measure for stone masons and laborers during an economic depression which was afflicting the colony at the time.
The two-storey Georgian structure was designed by Mortimer Lewis and featured 13 large and expensive windows in the facade to afford a clear view of shipping activity in Sydney Cove. Colonel Gibbes, who dwelt opposite Circular Quay on Kirribilli Point, was able to watch progress on the Customs House's construction from the verandah of his private residence, Wotonga House (now Admiralty House).
The Customs House opened for business in 1845 and replaced cramped premises at The Rocks. It was partially dismantled and expanded to three levels under the supervision of the then Colonial Architect, James Barnet, in 1887. Various additions were made over the next century, particularly during the period of the First World War, but some significant vestiges of the original Gibbes-Lewis building remain.
The Coat of arms of the United Kingdom is displayed on Customs House. The coat features both the motto of English monarchs, Dieu et mon droit (God and my right), and the motto of the Order of the Garter, Honi soit qui mal y pense (Shamed be he who thinks ill of it) on a representation of the Garter behind the shield.
Now heading into its fourth year, Vivid Sydney was ranked in the Top Ten global ideas festivals by the influential Guardian newspaper in the UK.
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The Forum and Rapallo Cinemas, formerly the State Theatre, were designed by the American cinema architect John Eberson in association with the prominent Melbourne architects Bohringer, Taylor and Johnson in 1928. It was built at the climax of the boom years in cinema construction, and was operated by Union Theatres. It had the largest capacity of any cinema in the country with 3371 seats. Unlike most picture palaces, this form of cinema design attempted to create the illusion of an exotic walled garden in the auditorium, complete with appropriate statuary, a blue ceiling, twinkling stars and projected clouds. The interior incorporates elements of Italian medieval, Renaissance, Baroque and Spanish Mission styles combined with bold classical Roman and Renaissance architectural forms to create a lush, impossibly exotic atmosphere. Externally the building is a Moorish fantasy with a jewelled clock tower with a copper clad Saracenic dome, minarets and barley sugar columns and rich pressed cement decoration. Construction is steel frame and brick.
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The Forum and Rapallo Cinemas, formerly the State Theatre, were designed by the American cinema architect John Eberson in association with the prominent Melbourne architects Bohringer, Taylor and Johnson in 1928. It was built at the climax of the boom years in cinema construction, and was operated by Union Theatres. It had the largest capacity of any cinema in the country with 3371 seats. Unlike most picture palaces, this form of cinema design attempted to create the illusion of an exotic walled garden in the auditorium, complete with appropriate statuary, a blue ceiling, twinkling stars and projected clouds. The interior incorporates elements of Italian medieval, Renaissance, Baroque and Spanish Mission styles combined with bold classical Roman and Renaissance architectural forms to create a lush, impossibly exotic atmosphere. Externally the building is a Moorish fantasy with a jewelled clock tower with a copper clad Saracenic dome, minarets and barley sugar columns and rich pressed cement decoration. Construction is steel frame and brick.
On one evening I was lucky enough to visit Vivid Sydney 2009. That was an amazing festival of music and light happening all around Sydney. This picture shows one of the installations called “Rocklights", the light projection in Argyle Cut by German artist and stage designer Ingo Bracke. Argyle Cut itself is a tunnel that was cut through the sandstone by convicts with basic digging tools at first and then by explosives. That was a huge job for year 1868 and it is no wonder it took 25 years to complete.
The picture is tonemapped HDR from a single RAW file. The shot was taken from a tripod with 8sec exposure.
Location: The Argyle Cut, The Rocks, New South Wales, Australia
From my photoblog at www.bouncedphoton.com
Nothing is as it seems as one of Sydney’s most stunning colonial buildings, Customs House, turns into glass, mercury, paper and water in a dizzying state of the art projection display.
Large-scale image projection experts The Electric Canvas transform this iconic sandstone architecture with a series of 3D-mapped animation sequences. Unfamiliar Customs was created entirely on a virtual model using powerful computers driven by the visibly smart 2nd Generation Intel® Core™ Processors.
Sydney is transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 27 May -13 June 2011.
Vivid Sydney will colour the city with creativity and inspiration, featuring breathtaking immersive light projections on the iconic Sydney Opera House sails, performances from local and international musicians as part of Vivid LIVE and a free outdoor exhibition of interactive light sculptures.
In 2011 the festival will also include a range of artistic collaborations, public talks and debates from leading creative thinkers from Australia and around the world, celebrating Sydney as the creative hub of the Asia Pacific.
from vividsydney.com/
From Wikipedia:
The Customs House is an historic Sydney landmark located in the city's Circular Quay area. Constructed initially in 1844-1845, the building served as the headquarters of the Customs Service until 1990. Ownership was then transferred from the Commonwealth Government of Australia to the City of Sydney Council in 1994, when it became a venue for exhibitions and private functions.
After being refurbished in 2003, it has also become the new home of the City of Sydney Library.
People of the Eora tribe are said to have witnessed from the site, in 1788, the landing of the First Fleet. Convict David O'Connor was hanged on the site in 1790 and it is said that his ghost haunts the Customs House to this day, offering people rum.
The driving force behind the construction of the original sandstone edifice on Circular Quay was Colonel John George Nathaniel Gibbes (1787-1873), the Collector of Customs for New South Wales for a record term of 25 years from 1834 to 1859. Colonel Gibbes persuaded the Governor of NSW, Sir George Gipps, to begin construction of the Customs House in 1844 in response to Sydney's growing volume of maritime trade. The building project also doubled as an unemployment relief measure for stone masons and laborers during an economic depression which was afflicting the colony at the time.
The two-storey Georgian structure was designed by Mortimer Lewis and featured 13 large and expensive windows in the facade to afford a clear view of shipping activity in Sydney Cove. Colonel Gibbes, who dwelt opposite Circular Quay on Kirribilli Point, was able to watch progress on the Customs House's construction from the verandah of his private residence, Wotonga House (now Admiralty House).
The Customs House opened for business in 1845 and replaced cramped premises at The Rocks. It was partially dismantled and expanded to three levels under the supervision of the then Colonial Architect, James Barnet, in 1887. Various additions were made over the next century, particularly during the period of the First World War, but some significant vestiges of the original Gibbes-Lewis building remain.
The Coat of arms of the United Kingdom is displayed on Customs House. The coat features both the motto of English monarchs, Dieu et mon droit (God and my right), and the motto of the Order of the Garter, Honi soit qui mal y pense (Shamed be he who thinks ill of it) on a representation of the Garter behind the shield.
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The Forum and Rapallo Cinemas, formerly the State Theatre, were designed by the American cinema architect John Eberson in association with the prominent Melbourne architects Bohringer, Taylor and Johnson in 1928. It was built at the climax of the boom years in cinema construction, and was operated by Union Theatres. It had the largest capacity of any cinema in the country with 3371 seats. Unlike most picture palaces, this form of cinema design attempted to create the illusion of an exotic walled garden in the auditorium, complete with appropriate statuary, a blue ceiling, twinkling stars and projected clouds. The interior incorporates elements of Italian medieval, Renaissance, Baroque and Spanish Mission styles combined with bold classical Roman and Renaissance architectural forms to create a lush, impossibly exotic atmosphere. Externally the building is a Moorish fantasy with a jewelled clock tower with a copper clad Saracenic dome, minarets and barley sugar columns and rich pressed cement decoration. Construction is steel frame and brick.
The Sunflowers
Artists: Francesco Cappuccio (Italy) / Dutchanee Ongarjsiri (Thailand)
The Sunflowers welcomes each visitor with a bow — and in a most charming way introduces them to the potential of harnessing solar energy for a sustainable future.
This joyous light sculpture assembles a harvest of potted sunflowers along a walkway with an east–west orientation, allowing maximum exposure to the sun
Solar panels harness energy from the sun during the day and store it in batteries embedded in the flowers: at night the stored energy is used to brighten LEDs in the petals and to facilitate the ‘bowing’ movement.
Sydney is transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 27 May -13 June 2011.
Vivid Sydney will colour the city with creativity and inspiration, featuring breathtaking immersive light projections on the iconic Sydney Opera House sails, performances from local and international musicians as part of Vivid LIVE and a free outdoor exhibition of interactive light sculptures.
In 2011 the festival will also include a range of artistic collaborations, public talks and debates from leading creative thinkers from Australia and around the world, celebrating Sydney as the creative hub of the Asia Pacific.
from vividsydney.com/
Sydney Cove was the site of the initial landing of the First Fleet in Port Jackson. In 1794 Thomas Muir, a Scottish constitutional reformer, was sentenced to transportation for sedition. Thomas Muir purchased Lightfoot's farm. Muir also had a cottage on what is now Circular Quay.
Circular Quay was originally mainly used for shipping and slowly developed into a transport, leisure and recreational centre.
Circular Quay was originally known as "Semi-Circular Quay", this being the actual shape of the quay. The name was shortened for convenience. The Circular Quay railway station was opened on 20 January 1956 and the elevated Cahill Expressway was opened on 14 March 1958.
Circular Quay is a major Sydney transport hub, with a large ferry, rail and bus interchange. The Cahill Expressway is a prominent feature of the quay, running from the east, over the elevated railway station to join the Sydney Harbour Bridge in the west.
Circular Quay was formerly a large tram terminus and interchange. As many Sydney bus routes follow the previous tram lines, the tram terminus has become a major bus terminus for many bus routes.
The railway station is the only station on the City Circle that is above ground. Additionally it is said to offer the best views of any CityRail railway station, as the platform looks out over (and is open to) the ferry terminus.
The wharf complex hosts five commuter ferry wharves and is the terminus for all public ferry routes in Sydney Harbour and the Parramatta River.
© All Rights Reserved - Black Diamond Images
"This year, Vivid LIVE has commissioned multi-award winning German design collective URBANSCREEN to create a new projected artwork, transforming Sydney Opera House with their reinterpretation of the sails – Vivid LIVE’s most public event. (Recommend viewing this VIDEO)
URBANSCREEN have taken the art of light projection, video mapping and motion graphics to extraordinary heights in their many large scale installations, including commissions from major art galleries, international festivals and opera companies. Recent works showcase their versatile and sensitive engagement with architecture, from the dream-themed 555 Kubik at the Hamburger Kunsthalle, the ‘operatic staging’ of Wolfgang Amadeus Mozart’s Idomeneo, Rè di Creta at Theatre Bremen, to the celebration of the 10th anniversary of the Museums Quartier in Vienna – highlighting Creative Director Thorsten Bauer’s musical approach to institutions.
The work will explore both the iconic sculptural form of the Opera House but also its place as a home for music, dance and drama, resulting in a work that is both sophisticated and spectacular." Reference
While the lightshows around the harbour are stunning it is worth noting that there is just so much more to the Vivid Sydney Festival and more than one night does need to be allocated to see all that this festival has to offer.
Check out the website for much more.
Vivid Sydney - Festival of Lights and Ideas draws to a close tomorrow night 11th June after having opened on 25th May 2012
More Vivid Sydney Photos HERE (Images to be added as time permits.)
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The Forum and Rapallo Cinemas, formerly the State Theatre, were designed by the American cinema architect John Eberson in association with the prominent Melbourne architects Bohringer, Taylor and Johnson in 1928. It was built at the climax of the boom years in cinema construction, and was operated by Union Theatres. It had the largest capacity of any cinema in the country with 3371 seats. Unlike most picture palaces, this form of cinema design attempted to create the illusion of an exotic walled garden in the auditorium, complete with appropriate statuary, a blue ceiling, twinkling stars and projected clouds. The interior incorporates elements of Italian medieval, Renaissance, Baroque and Spanish Mission styles combined with bold classical Roman and Renaissance architectural forms to create a lush, impossibly exotic atmosphere. Externally the building is a Moorish fantasy with a jewelled clock tower with a copper clad Saracenic dome, minarets and barley sugar columns and rich pressed cement decoration. Construction is steel frame and brick.
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The Forum and Rapallo Cinemas, formerly the State Theatre, were designed by the American cinema architect John Eberson in association with the prominent Melbourne architects Bohringer, Taylor and Johnson in 1928. It was built at the climax of the boom years in cinema construction, and was operated by Union Theatres. It had the largest capacity of any cinema in the country with 3371 seats. Unlike most picture palaces, this form of cinema design attempted to create the illusion of an exotic walled garden in the auditorium, complete with appropriate statuary, a blue ceiling, twinkling stars and projected clouds. The interior incorporates elements of Italian medieval, Renaissance, Baroque and Spanish Mission styles combined with bold classical Roman and Renaissance architectural forms to create a lush, impossibly exotic atmosphere. Externally the building is a Moorish fantasy with a jewelled clock tower with a copper clad Saracenic dome, minarets and barley sugar columns and rich pressed cement decoration. Construction is steel frame and brick.
Activists with New York International Campaign to Abolish Nuclear Weapons (NYCAN), Rise And Resist, International Campaign to Abolish Nuclear Weapons (ICAN), and The Illuminator projected images on the side the United Nations building in New York on January 19, 2021 with messages denouncing the countries yet to sign the Nuclear Ban Treaty. (Photo by Erik McGregor)
Nothing is as it seems as one of Sydney’s most stunning colonial buildings, Customs House, turns into glass, mercury, paper and water in a dizzying state of the art projection display.
Large-scale image projection experts The Electric Canvas transform this iconic sandstone architecture with a series of 3D-mapped animation sequences. Unfamiliar Customs was created entirely on a virtual model using powerful computers driven by the visibly smart 2nd Generation Intel® Core™ Processors.
Sydney is transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 27 May -13 June 2011.
Vivid Sydney will colour the city with creativity and inspiration, featuring breathtaking immersive light projections on the iconic Sydney Opera House sails, performances from local and international musicians as part of Vivid LIVE and a free outdoor exhibition of interactive light sculptures.
In 2011 the festival will also include a range of artistic collaborations, public talks and debates from leading creative thinkers from Australia and around the world, celebrating Sydney as the creative hub of the Asia Pacific.
from vividsydney.com/
From Wikipedia:
The Customs House is an historic Sydney landmark located in the city's Circular Quay area. Constructed initially in 1844-1845, the building served as the headquarters of the Customs Service until 1990. Ownership was then transferred from the Commonwealth Government of Australia to the City of Sydney Council in 1994, when it became a venue for exhibitions and private functions.
After being refurbished in 2003, it has also become the new home of the City of Sydney Library.
People of the Eora tribe are said to have witnessed from the site, in 1788, the landing of the First Fleet. Convict David O'Connor was hanged on the site in 1790 and it is said that his ghost haunts the Customs House to this day, offering people rum.
The driving force behind the construction of the original sandstone edifice on Circular Quay was Colonel John George Nathaniel Gibbes (1787-1873), the Collector of Customs for New South Wales for a record term of 25 years from 1834 to 1859. Colonel Gibbes persuaded the Governor of NSW, Sir George Gipps, to begin construction of the Customs House in 1844 in response to Sydney's growing volume of maritime trade. The building project also doubled as an unemployment relief measure for stone masons and laborers during an economic depression which was afflicting the colony at the time.
The two-storey Georgian structure was designed by Mortimer Lewis and featured 13 large and expensive windows in the facade to afford a clear view of shipping activity in Sydney Cove. Colonel Gibbes, who dwelt opposite Circular Quay on Kirribilli Point, was able to watch progress on the Customs House's construction from the verandah of his private residence, Wotonga House (now Admiralty House).
The Customs House opened for business in 1845 and replaced cramped premises at The Rocks. It was partially dismantled and expanded to three levels under the supervision of the then Colonial Architect, James Barnet, in 1887. Various additions were made over the next century, particularly during the period of the First World War, but some significant vestiges of the original Gibbes-Lewis building remain.
The Coat of arms of the United Kingdom is displayed on Customs House. The coat features both the motto of English monarchs, Dieu et mon droit (God and my right), and the motto of the Order of the Garter, Honi soit qui mal y pense (Shamed be he who thinks ill of it) on a representation of the Garter behind the shield.
Midnight Moon
Artist: WestonWilliamson Pty Ltd. (Australia)
Collaborators: Aaron Hughes (Australia) / Anton Grimes (Australia)
Midnight Moon appears to float magically above the Royal Botanic Garden. It serves as a beacon for this section of the Light Walk, drawing visitors through the Queen Elizabeth II Gate from the Sydney Opera House forecourt and along the paths of the Garden.
The Nautilus Forest can be seen in the background.
Artist: Mandylights: Adrienn Lord (Australia)
Collaborators:Richard Neville (UK) / Nick Sheen (UK)
The Nautilus Forest draws from both nature and precise geometry to create an illuminated forest of spiralling trees.
The artist duo Luftwerk has created this light projection and water exhibit on Couch Street turning an alley into visualization of elemental flow between the Chicago and Hamburg rivers.
In response to the NRA's 2018 national convention in Dallas, skilled light technicians and activists in over 15 cities will project anti-gun violence messages on buildings across the US this Thursday through Sunday. The messages read “The NRA Enables Domestic Terrorists”, an image of an AR-15 with a slash through it, and another calling out the amount that city’s Congressional District’s elected officials’ have taken from the NRA, in exchange for their silence on ending gun violence.
The action is coordinated by the Washington State-based Backbone Campaign, an organization that provides creative tactics to the progressive movement. Backbone Campaign’s network of Solidarity Brigades, skilled tacticians in over 20 cities, is mobilizing this largest coordinated grassroots light projection action.
With a light projector, GOBOs (metal stencils), and a battery, images and text will light up sides of buildings protesting the NRA and elected officials’ collusion with their platform. Local activists in each city have researched the amount their elected officials have taken from the NRA in campaign contributions and will be exposing those amounts in a large, visible, and public way.
Actions are planned to happen today (5-3-18) through Saturday in Dallas, Boulder, LA, San Diego, Tallahassee, Nashville, Spokane, Madison, DC, NYC, Chicago, Portland, Atlanta, Detroit, Tacoma, Seattle.
"The majority of Americans support stronger gun laws as a real way to reduce deaths, but our Congress refuses to act, out of fear of alienating their sugar daddy, the NRA. We are exposing the blood money that our elected officials have accepted from the NRA for inaction. Their collusion with an organization that enables domestic terrorists and endangers us all is cause for their removal from office,” says Backbone Campaign Executive Director Bill Moyer.
“Our youth should not have to be traumatized by “shooter drills” so that profiteers of violence can continue making and selling these weapons of war. Too many lives have already been lost. It is long past time to grow constituent pressure for an assault weapons ban. Thus, We the People - especially the youth - are taking leadership since the so-called leaders have failed us.”
If you would like to support this and similar efforts please pitch-in at
Nothing is as it seems as one of Sydney’s most stunning colonial buildings, Customs House, turns into glass, mercury, paper and water in a dizzying state of the art projection display.
Large-scale image projection experts The Electric Canvas transform this iconic sandstone architecture with a series of 3D-mapped animation sequences. Unfamiliar Customs was created entirely on a virtual model using powerful computers driven by the visibly smart 2nd Generation Intel® Core™ Processors.
Sydney is transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 27 May -13 June 2011.
Vivid Sydney will colour the city with creativity and inspiration, featuring breathtaking immersive light projections on the iconic Sydney Opera House sails, performances from local and international musicians as part of Vivid LIVE and a free outdoor exhibition of interactive light sculptures.
In 2011 the festival will also include a range of artistic collaborations, public talks and debates from leading creative thinkers from Australia and around the world, celebrating Sydney as the creative hub of the Asia Pacific.
from vividsydney.com/
From Wikipedia:
The Customs House is an historic Sydney landmark located in the city's Circular Quay area. Constructed initially in 1844-1845, the building served as the headquarters of the Customs Service until 1990. Ownership was then transferred from the Commonwealth Government of Australia to the City of Sydney Council in 1994, when it became a venue for exhibitions and private functions.
After being refurbished in 2003, it has also become the new home of the City of Sydney Library.
People of the Eora tribe are said to have witnessed from the site, in 1788, the landing of the First Fleet. Convict David O'Connor was hanged on the site in 1790 and it is said that his ghost haunts the Customs House to this day, offering people rum.
The driving force behind the construction of the original sandstone edifice on Circular Quay was Colonel John George Nathaniel Gibbes (1787-1873), the Collector of Customs for New South Wales for a record term of 25 years from 1834 to 1859. Colonel Gibbes persuaded the Governor of NSW, Sir George Gipps, to begin construction of the Customs House in 1844 in response to Sydney's growing volume of maritime trade. The building project also doubled as an unemployment relief measure for stone masons and laborers during an economic depression which was afflicting the colony at the time.
The two-storey Georgian structure was designed by Mortimer Lewis and featured 13 large and expensive windows in the facade to afford a clear view of shipping activity in Sydney Cove. Colonel Gibbes, who dwelt opposite Circular Quay on Kirribilli Point, was able to watch progress on the Customs House's construction from the verandah of his private residence, Wotonga House (now Admiralty House).
The Customs House opened for business in 1845 and replaced cramped premises at The Rocks. It was partially dismantled and expanded to three levels under the supervision of the then Colonial Architect, James Barnet, in 1887. Various additions were made over the next century, particularly during the period of the First World War, but some significant vestiges of the original Gibbes-Lewis building remain.
The Coat of arms of the United Kingdom is displayed on Customs House. The coat features both the motto of English monarchs, Dieu et mon droit (God and my right), and the motto of the Order of the Garter, Honi soit qui mal y pense (Shamed be he who thinks ill of it) on a representation of the Garter behind the shield.
June 2014
Vivid Light transforms Sydney into a wonderland of 'light art' sculptures, innovative installations and grand-scale projections for all to enjoy.
May 23 - 9 June 2014
Some very large inflatable white rabbits, illuminated in stark white light, have invaded Sydney’s harbourside – however, it’s not exactly a scene from Godzilla. The bunnies of Intrude stand tall yet relaxed at 7m high and appear to be quite at home in their new patch.
Why rabbits?
These animals first travelled to Australia on the ships of the First Fleet and were brought ashore in cages in January 1788 at Sydney Cove – the very site of this installation.
Intrude references Australia’s cultural love affair with novelty 'Big Things' sculpture – Ballina’s Big Prawn, Goulbourn’s Big Merino and Coffs Harbour’s Big Banana, to name a few. And now, with Intrude, Vivid Sydney presents the Big Rabbits of Sydney.
Amanda Parer
www.vividsydney.com/events/intrude
www.vividsydney.com/?gclid=CjkKEQjw75CcBRCz2LiEs5OPsZoBEi...
City Sparkle is 32 Hundred Lighting’s vast symphony of light beams that plays across the skyline, dazzling Sydneysiders and visitors alike. This year, the light show incorporates 62 pillars of light and interactive sequencing. Fifteen giant Aquabeams shine from the top of Sydney Harbour Bridge along with innovative ‘sparkle points’ of LED tubes that illuminate the arch and road deck. To complement this beacon, light beams from atop Bennelong Apartments, Overseas Passenger Terminal and Cahill Expressway, with ‘sparkle points’ on 18 separate CBD building rooftops. Another 13 façades are saturated with colour. By linking Sydney’s landmarks, this luminous array offers an unmatched spectacle that can be experienced from vantage points near and far.
From Circular Quay, past the Sydney Harbour Bridge to the Sydney Opera House.
Harbour Lights turns the waters of Sydney Harbour into a light spectacular, with many vessels moving across the water in a gentle, synchronised lighting display.
City Sparkle is 32 Hundred Lighting’s vast symphony of light beams that plays across the skyline, dazzling Sydneysiders and visitors alike. This year, the light show incorporates 62 pillars of light and interactive sequencing. Fifteen giant Aquabeams shine from the top of Sydney Harbour Bridge along with innovative ‘sparkle points’ of LED tubes that illuminate the arch and road deck. To complement this beacon, light beams from atop Bennelong Apartments, Overseas Passenger Terminal and Cahill Expressway, with ‘sparkle points’ on 18 separate CBD building rooftops. Another 13 façades are saturated with colour. By linking Sydney’s landmarks, this luminous array offers an unmatched spectacle that can be experienced from vantage points near and far.
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The beautiful red brick and yellow painted Edwardian facade of the former Commercial Travellers Club building was designed by Tompkins and Tompkins. Built with large windows and multiple balconies, it has been designed in Victorian Mannerist style, and was completed in 1898. It is an early example of the influence of the Romanesque Revival, but is more transitional, with strong Queen Anne influences.
Nothing is as it seems as one of Sydney’s most stunning colonial buildings, Customs House, turns into glass, mercury, paper and water in a dizzying state of the art projection display.
Large-scale image projection experts The Electric Canvas transform this iconic sandstone architecture with a series of 3D-mapped animation sequences. Unfamiliar Customs was created entirely on a virtual model using powerful computers driven by the visibly smart 2nd Generation Intel® Core™ Processors.
Sydney is transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 27 May -13 June 2011.
Vivid Sydney will colour the city with creativity and inspiration, featuring breathtaking immersive light projections on the iconic Sydney Opera House sails, performances from local and international musicians as part of Vivid LIVE and a free outdoor exhibition of interactive light sculptures.
In 2011 the festival will also include a range of artistic collaborations, public talks and debates from leading creative thinkers from Australia and around the world, celebrating Sydney as the creative hub of the Asia Pacific.
from vividsydney.com/
From Wikipedia:
The Customs House is an historic Sydney landmark located in the city's Circular Quay area. Constructed initially in 1844-1845, the building served as the headquarters of the Customs Service until 1990. Ownership was then transferred from the Commonwealth Government of Australia to the City of Sydney Council in 1994, when it became a venue for exhibitions and private functions.
After being refurbished in 2003, it has also become the new home of the City of Sydney Library.
People of the Eora tribe are said to have witnessed from the site, in 1788, the landing of the First Fleet. Convict David O'Connor was hanged on the site in 1790 and it is said that his ghost haunts the Customs House to this day, offering people rum.
The driving force behind the construction of the original sandstone edifice on Circular Quay was Colonel John George Nathaniel Gibbes (1787-1873), the Collector of Customs for New South Wales for a record term of 25 years from 1834 to 1859. Colonel Gibbes persuaded the Governor of NSW, Sir George Gipps, to begin construction of the Customs House in 1844 in response to Sydney's growing volume of maritime trade. The building project also doubled as an unemployment relief measure for stone masons and laborers during an economic depression which was afflicting the colony at the time.
The two-storey Georgian structure was designed by Mortimer Lewis and featured 13 large and expensive windows in the facade to afford a clear view of shipping activity in Sydney Cove. Colonel Gibbes, who dwelt opposite Circular Quay on Kirribilli Point, was able to watch progress on the Customs House's construction from the verandah of his private residence, Wotonga House (now Admiralty House).
The Customs House opened for business in 1845 and replaced cramped premises at The Rocks. It was partially dismantled and expanded to three levels under the supervision of the then Colonial Architect, James Barnet, in 1887. Various additions were made over the next century, particularly during the period of the First World War, but some significant vestiges of the original Gibbes-Lewis building remain.
The Coat of arms of the United Kingdom is displayed on Customs House. The coat features both the motto of English monarchs, Dieu et mon droit (God and my right), and the motto of the Order of the Garter, Honi soit qui mal y pense (Shamed be he who thinks ill of it) on a representation of the Garter behind the shield.
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The Forum and Rapallo Cinemas, formerly the State Theatre, were designed by the American cinema architect John Eberson in association with the prominent Melbourne architects Bohringer, Taylor and Johnson in 1928. It was built at the climax of the boom years in cinema construction, and was operated by Union Theatres. It had the largest capacity of any cinema in the country with 3371 seats. Unlike most picture palaces, this form of cinema design attempted to create the illusion of an exotic walled garden in the auditorium, complete with appropriate statuary, a blue ceiling, twinkling stars and projected clouds. The interior incorporates elements of Italian medieval, Renaissance, Baroque and Spanish Mission styles combined with bold classical Roman and Renaissance architectural forms to create a lush, impossibly exotic atmosphere. Externally the building is a Moorish fantasy with a jewelled clock tower with a copper clad Saracenic dome, minarets and barley sugar columns and rich pressed cement decoration. Construction is steel frame and brick.
Photo by Julian Meehan
Copyright: Creative Commons CC-by-SA
This Friday evening protest at Camberwell Junction featured slide projections and had over 100 people attending. It was held near the office of Josh Frydenberg, the Liberal MP for Kooyong and the Environment and Climate Change Minister in the Turnbull Government. He needs to step up and stop the Adani Carmichael coal mine from being developed as it is inconsistent with Australia's ratification and commitments under the 2015 Paris Agreement to keep temperatures well below 2C temperature target. 95 per cent of Australia's coal must remain unexploited to be consistent with limiting temperatures to 2C according to a 2015 peer reviewed study by Ekins and McGlade
At the Victoria Theatre and Concert Hall, Empress Lawn during the Light to Night Singapore Reimagine festival at Civic District.
｜日期：2020年 10/06（二）- 10/10（六）
｜時間：每天6場次，場次如下：19：00、 19：30、20：00、20：30、21：00、21：30
｜光雕展演長度：約8分鐘
主辦單位：
中華文化總會
中華民國各界慶祝109年國慶籌備委員會
There was a beautiful light projection on the south face of the Empire State Building on August 1, 2015. The display, called Projecting Change by Travis Threlkel and Louie Psihoyos, brought attention to the plight of endangered species. The lights on top of the Empire State Building also kept changing colors in concert with the light projection.
More photos like this one are in my set
The Night. Reimagined.
Artist: Samsung (Australia)
Collaborators: Leo Burnett (Australia) / Imagination (Australia) / Habitat (Australia)
Two iconic installations. One epic experience.
Your journey to reimagine the night starts on the Sydney Opera House forecourt.
A giant 9, in a spiraling aperture-inspired installation of light and shadows. Visitors will be taken on a unique, sensory journey through the night and beyond.
In an immersive walk-through light experience, we’ll be giving a number of Vivid Sydney visitors the opportunity to project their personalised AR Emoji onto the iconic face of Luna Park.
Move through the journey and discover a super slow-mo experience to capture a truly Instagram-worthy video.
Then, comes your big moment. The chance to turn your selfie into a personalised AR emoji projected on Sydney’s most iconic face — Luna Park.
And once you’re done, step up to the viewing platform for a spectacular view across Vivid Sydney and Luna Park.
For your chance to take part, visit the Sydney Opera House forecourt.
June 4th, 2012.
Sydney will once again be transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 25 May – 11 June 2012.
Colouring the city with creativity and inspiration, Vivid Sydney highlights include the hugely popular immersive light installations and projections; performances from local and international musicians at Vivid LIVE at Sydney Opera House and the new Vivid Ideas Exchange at the MCA featuring public talks and debates from leading global creative thinkers.
Vivid Sydney is a major celebration of the creative industries and the biggest festival of its kind in the Southern Hemisphere, attracting over 400,000 attendees in 2011.
From Wikipedia:
The Customs House is an historic Sydney landmark located in the city's Circular Quay area. Constructed initially in 1844-1845, the building served as the headquarters of the Customs Service until 1990. Ownership was then transferred from the Commonwealth Government of Australia to the City of Sydney Council in 1994, when it became a venue for exhibitions and private functions.
After being refurbished in 2003, it has also become the new home of the City of Sydney Library.
People of the Eora tribe are said to have witnessed from the site, in 1788, the landing of the First Fleet. Convict David O'Connor was hanged on the site in 1790 and it is said that his ghost haunts the Customs House to this day, offering people rum.
The driving force behind the construction of the original sandstone edifice on Circular Quay was Colonel John George Nathaniel Gibbes (1787-1873), the Collector of Customs for New South Wales for a record term of 25 years from 1834 to 1859. Colonel Gibbes persuaded the Governor of NSW, Sir George Gipps, to begin construction of the Customs House in 1844 in response to Sydney's growing volume of maritime trade. The building project also doubled as an unemployment relief measure for stone masons and laborers during an economic depression which was afflicting the colony at the time.
The two-storey Georgian structure was designed by Mortimer Lewis and featured 13 large and expensive windows in the facade to afford a clear view of shipping activity in Sydney Cove. Colonel Gibbes, who dwelt opposite Circular Quay on Kirribilli Point, was able to watch progress on the Customs House's construction from the verandah of his private residence, Wotonga House (now Admiralty House).
The Customs House opened for business in 1845 and replaced cramped premises at The Rocks. It was partially dismantled and expanded to three levels under the supervision of the then Colonial Architect, James Barnet, in 1887. Various additions were made over the next century, particularly during the period of the First World War, but some significant vestiges of the original Gibbes-Lewis building remain.
The Coat of arms of the United Kingdom is displayed on Customs House. The coat features both the motto of English monarchs, Dieu et mon droit (God and my right), and the motto of the Order of the Garter, Honi soit qui mal y pense (Shamed be he who thinks ill of it) on a representation of the Garter behind the shield.
Now heading into its fourth year, Vivid Sydney was ranked in the Top Ten global ideas festivals by the influential Guardian newspaper in the UK.
Sydney Vivid Festival 2018.
The Vivid Festival is a annual festival of lights, music, and ideas, that runs for about 3 weeks each year in Sydney.
The main attraction is the light installations and light projections around Sydney.
Some of Sydney's most recognisable & iconic buildings are lit up by amazing light projections.
These include: Sydney Opera House, Sydney Harbour Bridge, Museum of Contemporary Art, Customs House, and Sydney Uni.
Vivid has grown to include several areas around Sydney including Circular Quay, Darling Harbour, The Rocks, Martin Place, and Chatswood.
In 2016 a few more areas were added to the festival including: The Royal Botanic Gardens, Taronga Park Zoo, and Central Park.
Also featured during the festival are concerts by local and international artists.
Thirdly, there is a series of lectures and talks on various topics.
It has become one of the biggest public events in Australia, and is recognised internationally as a major event.
Overseas & local tourists visit Sydney in numbers during the annual event.
Vivid now attracts a massive 1.5 million people each year.
In response to the NRA's 2018 national convention in Dallas, skilled light technicians and activists in over 15 cities will project anti-gun violence messages on buildings across the US this Thursday through Sunday. The messages read “The NRA Enables Domestic Terrorists”, an image of an AR-15 with a slash through it, and another calling out the amount that city’s Congressional District’s elected officials’ have taken from the NRA, in exchange for their silence on ending gun violence.
The action is coordinated by the Washington State-based Backbone Campaign, an organization that provides creative tactics to the progressive movement. Backbone Campaign’s network of Solidarity Brigades, skilled tacticians in over 20 cities, is mobilizing this largest coordinated grassroots light projection action.
With a light projector, GOBOs (metal stencils), and a battery, images and text will light up sides of buildings protesting the NRA and elected officials’ collusion with their platform. Local activists in each city have researched the amount their elected officials have taken from the NRA in campaign contributions and will be exposing those amounts in a large, visible, and public way.
Actions are planned to happen today (5-3-18) through Saturday in Dallas, Boulder, LA, San Diego, Tallahassee, Nashville, Spokane, Madison, DC, NYC, Chicago, Portland, Atlanta, Detroit, Tacoma, Seattle.
"The majority of Americans support stronger gun laws as a real way to reduce deaths, but our Congress refuses to act, out of fear of alienating their sugar daddy, the NRA. We are exposing the blood money that our elected officials have accepted from the NRA for inaction. Their collusion with an organization that enables domestic terrorists and endangers us all is cause for their removal from office,” says Backbone Campaign Executive Director Bill Moyer.
“Our youth should not have to be traumatized by “shooter drills” so that profiteers of violence can continue making and selling these weapons of war. Too many lives have already been lost. It is long past time to grow constituent pressure for an assault weapons ban. Thus, We the People - especially the youth - are taking leadership since the so-called leaders have failed us.”
If you would like to support this and similar efforts please pitch-in at
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The former Ball and Welch Department Store was constructed between 1898 and 1899 and designed by architects H. W. and F. B. Tompkins. The building is in a Georgian period Chicagoesque style and consists of eight floors.
The beautiful red brick and yellow painted Edwardian facade of the former Commercial Travellers Club building was designed by Tompkins and Tompkins. Built with large windows and multiple balconies, it has been designed in Victorian Mannerist style, and was completed in 1898. It is an early example of the influence of the Romanesque Revival, but is more transitional, with strong Queen Anne influences.
The former Metropolitan Gas Company building is a fine example of Neo Gothic style. Designed by Reed, Smart and Tappin and built in 1892, the Metropolitan Gas Company building was originally faced in red brick and Waurn Ponds stone, but in the 1930s its facade had fallen in to disrepair and the building was refaced in synthetic stone, composed of ground Pyrmont sandstone mixed with white cement. The building was the headquarters of the Metropolitan Gas Company for many years, and was then the headquarters for its successor the Victorian Gas and Fuel Corporation, until 1967 when the organisation moved to new buildings directly across the road (which have since been demolished). After the Victorian Gas and Fuel Corporation's departure, for several years the building was occupied by Clark Rubber.
Worldwide renowned local lighting designer, Philip Lethlean created a wonderland of colourful installations of lighting treatments with visual identities by their own definition along Melbourne’s Flinders Lane and the famous Princess Bridge. Rags to Riches was an installation that turned the drudgery of Melbourne’s Flinders Lane into a wonderful world of brilliant reflected colour, by way of light shone onto a collection of mirror balls and illuminated cones. With over twenty years of experience across all art forms, Philip Lethlean is the principal designer for the Melbourne based company, Light Designs Australia. His works have consistently toured, with recent international projects including projections with Arabic singers in the UAE, DreamWorks and Global Creatures arena spectacular in the USA, Bali Safari and Marine Park in Indonesia and the Australian Pavilion Expo in Shanghai, China.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
Nothing is as it seems as one of Sydney’s most stunning colonial buildings, Customs House, turns into glass, mercury, paper and water in a dizzying state of the art projection display.
Large-scale image projection experts The Electric Canvas transform this iconic sandstone architecture with a series of 3D-mapped animation sequences. Unfamiliar Customs was created entirely on a virtual model using powerful computers driven by the visibly smart 2nd Generation Intel® Core™ Processors.
Sydney is transformed into a spectacular canvas of light, music and ideas when Vivid Sydney takes over the city after dark from 27 May -13 June 2011.
Vivid Sydney will colour the city with creativity and inspiration, featuring breathtaking immersive light projections on the iconic Sydney Opera House sails, performances from local and international musicians as part of Vivid LIVE and a free outdoor exhibition of interactive light sculptures.
In 2011 the festival will also include a range of artistic collaborations, public talks and debates from leading creative thinkers from Australia and around the world, celebrating Sydney as the creative hub of the Asia Pacific.
from vividsydney.com/
From Wikipedia:
The Customs House is an historic Sydney landmark located in the city's Circular Quay area. Constructed initially in 1844-1845, the building served as the headquarters of the Customs Service until 1990. Ownership was then transferred from the Commonwealth Government of Australia to the City of Sydney Council in 1994, when it became a venue for exhibitions and private functions.
After being refurbished in 2003, it has also become the new home of the City of Sydney Library.
People of the Eora tribe are said to have witnessed from the site, in 1788, the landing of the First Fleet. Convict David O'Connor was hanged on the site in 1790 and it is said that his ghost haunts the Customs House to this day, offering people rum.
The driving force behind the construction of the original sandstone edifice on Circular Quay was Colonel John George Nathaniel Gibbes (1787-1873), the Collector of Customs for New South Wales for a record term of 25 years from 1834 to 1859. Colonel Gibbes persuaded the Governor of NSW, Sir George Gipps, to begin construction of the Customs House in 1844 in response to Sydney's growing volume of maritime trade. The building project also doubled as an unemployment relief measure for stone masons and laborers during an economic depression which was afflicting the colony at the time.
The two-storey Georgian structure was designed by Mortimer Lewis and featured 13 large and expensive windows in the facade to afford a clear view of shipping activity in Sydney Cove. Colonel Gibbes, who dwelt opposite Circular Quay on Kirribilli Point, was able to watch progress on the Customs House's construction from the verandah of his private residence, Wotonga House (now Admiralty House).
The Customs House opened for business in 1845 and replaced cramped premises at The Rocks. It was partially dismantled and expanded to three levels under the supervision of the then Colonial Architect, James Barnet, in 1887. Various additions were made over the next century, particularly during the period of the First World War, but some significant vestiges of the original Gibbes-Lewis building remain.
The Coat of arms of the United Kingdom is displayed on Customs House. The coat features both the motto of English monarchs, Dieu et mon droit (God and my right), and the motto of the Order of the Garter, Honi soit qui mal y pense (Shamed be he who thinks ill of it) on a representation of the Garter behind the shield.
Created by The Electric Canvas, Wonderland was celebrated feature of the inaugural Melbourne White Night Festival. The 2014 Wonderland consists of projections that transformed the buildings of Flinders Street once the sun set; turning the brick and concrete facades of early Twentieth Century buildings such as Flinders Street Station, the Metropolitan Gas Company building, the former Commercial Travellers Club building, the former Ball and Welch Department Store, the Masonic Club building and the former Forum and Rapallo Cinemas into brilliantly coloured canvases that showed off images of magic, carnivals, amusement parks and circuses.
The White Night Festival in Melbourne is a State Government of Victoria initiative created by the Victorian Major Events Company. Originally conceived in Paris in 2002, to make vibrant and dynamic art and culture accessible to large audiences in public spaces, Paris’ Nuit Blanche (White Night) has inspired an international network of similar programmes in over twenty cities globally, including Melbourne.
In 2013 Melbourne became the first Australian city to create its own White Night Festival, producing an all night event of light, colour and artistry. The White Night Festival, now in its second year, is a wonderful opportunity to showcase Melbourne as Australia’s international city of artistic innovation, and celebrate the city’s commitment to modern and interpretive art, music and culture.
The former Metropolitan Gas Company building is a fine example of Neo Gothic style. Designed by Reed, Smart and Tappin and built in 1892, the Metropolitan Gas Company building was originally faced in red brick and Waurn Ponds stone, but in the 1930s its facade had fallen in to disrepair and the building was refaced in synthetic stone, composed of ground Pyrmont sandstone mixed with white cement. The building was the headquarters of the Metropolitan Gas Company for many years, and was then the headquarters for its successor the Victorian Gas and Fuel Corporation, until 1967 when the organisation moved to new buildings directly across the road (which have since been demolished). After the Victorian Gas and Fuel Corporation's departure, for several years the building was occupied by Clark Rubber.
The beautiful red brick and yellow painted Edwardian facade of the former Commercial Travellers Club building was designed by Tompkins and Tompkins. Built with large windows and multiple balconies, it has been designed in Victorian Mannerist style, and was completed in 1898. It is an early example of the influence of the Romanesque Revival, but is more transitional, with strong Queen Anne influences.
The former Ball and Welch Department Store was constructed between 1898 and 1899 and designed by architects H. W. and F. B. Tompkins. The building is in a Georgian period Chicagoesque style and consists of eight floors.
Merchandise Mart at Chicago River
Chicago, IL
September 29, 2018
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.