Nº 267

Analogue Projection Mapping

“Projection mapping” has been around for nearly 50 years, having been premiered by the special effects team of the Disneyland theme park in 1969. As various technical advances have simplified the method, more and more artists over the past twenty years have pushed the envelope of such transient projections for their own field of work. Transparency, perceptual distortions, and geometrical forms all play a major role, as does the possibility of overstepping boundaries. The following projects point up the interactive tendencies that are feeding the projection mapping aesthetic back into design style, giving rise to physical structures, patterns, and minimalist forms that blur the dividing line between the two- and three-dimensional.




The designer and photographer Eugen Laitenberger founded the fashion label Gunee Homme in 2014. His affinity for illustration and graphic design is clearly apparent in the hand-drawn patterns of his creations. The brightly patterned shirts and bow ties of the Prelude collection are thus done in a style that plays with geometrical forms, symmetries, and the switch from the two- to three-dimensional. The shirts are tight-fitting and their patterns illustrative in style so that the lines on the body look as if projected. Parallels with projection mapping are also evident in the way the collection is presented. The partially folded, partially hanged shirts are framed by colour-matched graphic elements such as lines and rectangles, which in turn seem to be rising up or shooting out from pedestals or vitrines. Laitenberger takes the illusion of three-dimensionality and space one stage further by incorporating shards of broken glass.




The Spacestream chair combines the phenomenon of fixed movement known from futurism with the mapping elements of transparency and perceptual distortion. Its designer, Daniel Widrig, lives and works in London and has already used experimental materials and 3D printing as the basis of countless projects. Spacestream was created in collaboration with Stefan Bassing, Someen Hahm, Wenjian Yang, Shaoru Wang, Shan Zhen, and Mengying Li as part of a research project in 2015. Despite the fragile-looking geometric forms, the chair is made of steel, which makes it very sturdy.




The artist Joanie Lemercier has been working with mapping projections since 2006. Whereas at first he exhibited his light installations exclusively at art festivals, he is currently busy with projects for the stores of the fashion label Rocawear by Rapper Jay Z. The work called “Quartz”, the second part of Lemercier’s “light fragment” triptych, recently went on show at Barneys, a luxury department store in New York City. It is based on a parametric crystalline structure designed in collaboration with media artist Kyle McDonald. Therefore, the two covered a foam piece as the core of the work with fragments of mirrored foil to create a three-dimensional looking object. As the whole set up is premised on crystalline structures, the interplay of light sources and differences in height and transparency gives the impression of the two-dimensional photograph of a cosmic explosion. The optical illusion is further reinforced by the atmospheric audio material added by sound designer Thomas Vaquié.

QUARTZ from Joanie Lemercier on Vimeo.

Atoms from Joanie Lemercier on Vimeo.

The making of "ATOMS" from Joanie Lemercier on Vimeo.

Grid Body



Der japanische Designer und Künstler Tokujin Yoshioka legt sich in seinen Arbeiten nicht auf ein Arbeitsfeld fest. Seine Projekte decken Produkt- und Ausstellungsdesign sowie Architektur ab. Grid Body ist im Auftrag seines früheren Arbeitgebers Issey Miyake entstanden. Yoshioka gestaltete die transparenten Körper als Träger für Issey Miyakes Modeentwürfe, die in der Ausstellung „The Work of Miyake Issey“ (↗ form 265, S. 29) dieses Jahr im National Art Center in Tokio gezeigt wurden. Dabei bezog sich Yoshioka auf den technischen Entwicklungsstand der jeweiligen Schaffensphase des Modedesigners. Für die Modestücke aus den 1970er-Jahren fertigte er seine Körper aus Karton, deren Einzelteile mit Laser ausgeschnitten wurden. Für die futuristischen Entwürfe aus den 1980ern setzte er als Grundmaterial transparentes Acrylharz ein. Seine Träger haben, durch ihre Rasterung und das Ineinanderstecken einzelner Formen zu einem stabilen, menschlichen Körper, sowohl einen geometrischen als auch transparenten Effekt. Diese zwei Elemente nimmt Yoshioka auch im Prozess des Projektionsmappings auf einen Körper auf.


Nº 270
South Korea

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