San Francisco is the 2nd densest city in the USA, and though it’s obviously full of hills, it’s hard to make sense of them. Thanks to a clever and beautiful isometric projection, however, you can finally see the city’s contours in detail, devoid of cars, trees, and houses. Abe Bingham created this map, and it’s really well done. Prints available for $15 on Kickstarter. Via FastCo Design:
Bot and Dolly produced this stunning projection mapping, and it’s hard to believe, but everything you see is taking place in camera, no post-production graphics. Watching it in HD, large, is a must. Via Colossal:
“Box” explores the synthesis of real and digital space through projection-mapping on moving surfaces. The short film documents a live performance, captured entirely in camera. Bot & Dolly produced this work to serve as both an artistic statement and technical demonstration. It is the culmination of multiple technologies, including large scale robotics, projection mapping, and software engineering. We believe this methodology has tremendous potential to radically transform theatrical presentations, and define new genres of expression.
The skyline in San Francisco is poised to change with the addition of the Transbay Tower, a huge 1,070 foot tall skyscraper, due in 2017. It’s part of a larger project called the Transbay Transit Center, which is considered to be the Grand Central Station of the West, and will include a hub for the California high speed rail network. It will be by far the tallest building in the city, and will mark a new era of architecture in the Bay Area.
Adrift is a masterpiece of fog photography, and especially fitting, seeing as it’s my homebase city, and this site’s namesake. Simon Christen spent a number of years tracking down perfect instances of fog, and he has some beautiful shots of fog rolling like waves over the hills of the scenic Bay Area. Be sure to watch the video in its glorious high definition on Vimeo.
What happens when you throw high-powered glowsticks into a waterfall and take long exposure images? Something bizarre and excellent. Neon Luminance. Via Colossal:
U.S.A. (burnt/unburnt) is a 2011 installation by Paris-based artist Claire Fontaine constructed from thousands of green matches that were inserted into a wall at the Portland Institute for Contemporary Art as part art of “Evidence of Bricks” at the 2011 Time-Based Art Festival. Fontaine has made somewhat of a name for herself with her match installations and flaming geography, most recently completing a similar U.S.A. map at Queens Nails Gallery in San Francisco. Unlike the installation in Portland above, the Queens Nails artwork was actually set on fire, and while it may not have gone exactly as intended, the final post-flame artwork is impressive nonetheless. Photographs above for PICA by Dan Kvitka.
Variable has a beautiful little look at Holi, the spring Hindu festival. Shot on the Phantom camera, which shoots a glorious 1000 frames per second.
Poetic, bizarre, decadent, and pretty darn cool, the first thousand letters of π (Pi) were drawn in the sky over San Francisco this week. Everyone has spent time deciphering objects out of clouds, but it’s a rare day when you get a literal lesson in math while gazing up at the wild blue yonder.
As part of the ZERO1 Biennial—a months long festival celebrating the coming together of art and technology—an artist known only as Ishky used several planes to skywrite the first 1,000 digits of Pi over the city, in a piece cleverly (and obviously) titled Pi in the Sky.
The stunt used five planes flying in formation equipped with synchronized dot-matrix-like smoke printers to slowly spell out the sequence. Each digit measured almost a half-mile in height, so anyone on the ground could easily distinguish the numbers, even though the planes were flying at almost 10,000 feet. A sixth craft was used to film the stunt from the air, but the wider view from the ground made the piece seem far mor grandiose.
And just in case you wanted confirmation of those first thousand numbers, here they are:
1415926535897932384626433832795028841971693993751058209749445923 0781640628620899862803482534211706798214808651328230664709384460 9550582231725359408128481117450284102701938521105559644622948954 9303819644288109756659334461284756482337867831652712019091456485 6692346034861045432664821339360726024914127372458700660631558817 4881520920962829254091715364367892590360011330530548820466521384 1469519415116094330572703657595919530921861173819326117931051185 4807446237996274956735188575272489122793818301194912983367336244 0656643086021394946395224737190702179860943702770539217176293176 7523846748184676694051320005681271452635608277857713427577896091 7363717872146844090122495343014654958537105079227968925892354201 9956112129021960864034418159813629774771309960518707211349999998 3729780499510597317328160963185950244594553469083026425223082533 4468503526193118817101000313783875288658753320838142061717766914 7303598253490428755468731159562863882353787593751957781857780532 171226806613001927876611195909216420198
Some somber yet fascinating digital composites from 100 years ago and today.
Since 2010, San Francisco photographer Shawn Clover has been working on a striking series of then and now composite photos of the 1906 San Francisco earthquake (part 1 & part 2). To create the series, Clover collected archival photos of the earthquake’s aftermath. He then replicated the photos himself, down to the location, camera position and focal length (to the best of his estimation). The resulting composite photos hauntingly combine stark images of the earthquake’s devastation with modern scenes of life in San Francisco.
photos by Shawn Clover