Writing for Dezeen.com, Aaron Betsky argues that “installation art has finally taken over the last bastion of architecture, namely the civic monuments that define us as a culture and society.” As Dean of the Frank Lloyd Wright School of Architecture, Betsky should know.
Citing Thomas Heatherwick’s new installation, Vessel, in Manhattan’s Hudson Yards, Anish Kapoor’s Cloud Gate (fondly known as “the bean”) in Chicago’s Millennium Park, and ArcelorMittal Orbit built for the London 2012 Olympics in London, Betsky makes the case that “[this] art takes us out of ourselves, brings us together, reenacts and reinvigorates our public lives, and, what is not unimportant, lets us have fun together.”
We couldn’t agree more, especially as we watch the polarizing divisiveness in contemporary culture growing at a pace equal to the urgency to remedy it. We share and celebrate Betsky’s view that immersive, awe-inspiring public art installations “serve to bring us together to experience something as a community.”
And yet, we at Obscura want to take this idea one step further. Obscura seeks to use cutting edge technological innovation and custom content to marry installation art and architecture, turning buildings into engaging immersive environments. We believe buildings can become sentient, living, breathing actors in their own right — that engage, educate, and entertain visitors with both curated and dynamic, generative content.
Rather than keeping art and architecture at arm’s length, or simply bolting one onto the other, we look to extend and elevate architecture’s potential into the realm of an engaged, interactive art experience, one that’s intelligent and responsive to its occupants and the natural environment, enjoying all the benefits that Betsky describes, and beyond.