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Visitors can play in the rain without getting wet in this installation by interactive designers rAndom International at the Barbican in London (+ slideshow).

Located in The Curve gallery, Rain Room is a perpetual rain shower which lets visitors feel the moisture in the air and hear the sound of rain while remaining untouched by drops of water.

Cameras installed around the room detect human movements and send instructions to the rain drops to continually move away from visitors.

The water drips through a grid in the floor where it is treated before being sent back up to the ceiling to fall again.

Formed in 2005 by former Royal College of Art students Hannes Koch, Florian Ortkrass and Stuart Wood, rAndom International has created a number of installations involving audience participation.

“Rain Room is the first time that we’ve extended the level of our experimentation to the huge public space that is The Curve at the Barbican,” rAndom International told Dezeen.

“Our other work has performed on a more intimate scale in terms of size and engagement, but what’s common to most of our projects is that they extract interesting behaviour from the viewers,” they added.

Their proposal to create a rain shower inside the gallery didn’t faze the curators. “The curatorial team around Jane Alison has not blinked once in view of the actual implications of realising the Rain Room at The Curve – a never-done-before project featuring thousands of litres of water above a BBC recording studio and right next to a theatre and concert hall in a public art gallery.”

The designers have also collaborated again with British choreographer Wayne McGregor, whose Random Dance company will perform short ‘interventions’ in the Rain Room to a score by Max Richter on selected Sundays during the exhibition.

“Working with Wayne and Random Dance has always been very rewarding, as his perspective seems to complement our way of working extremely well,” said the designers. Earlier this year Dezeen featured their collaboration for the Future Self project at MADE in Berlin, in which a lighting installation mapped and replicated human movement.

Rain Room isn’t the first weather-related art installation to appear on Dezeen – we’ve also featured a moving cloud of raindrops in a Singapore airport and an LED sign in a London park displaying yesterday’s weather.

See all our stories about weather »
See all our stories about art »
See all our stories about the Barbican »

Photographs are by Felix Clay.

Here’s the full press release from the Barbican:

Rain Room by rAndom International at The Curve, Barbican Centre, London
Admission Free
4 October 2012 – 3 March 2013

The exhibition is supported by Arts Council England. Rain Room has been made possible through the generous support of the Maxine and Stuart Frankel Foundation for Art.

Known for their distinctive approach to digital-based contemporary art, rAndom International’s experimental artworks come alive through audience interaction. Their largest and most ambitious installation yet, Rain Room is a 100 square metre field of falling water for visitors to walk through and experience how it might feel to control the rain. On entering The Curve the visitor hears the sound of water and feels moisture in the air before discovering the thousands of falling droplets that respond to their presence and movement. Rain Room opens in The Curve on 4 October 2012.

Kate Bush, Head of Art Galleries, Barbican Centre, said: The Curve has previously played host to guitar-playing finches, a World War II bunker and a digital bowling alley. rAndom International have created a new work every bit as audacious and compelling – Rain Room surpasses all our expectations.

At the cutting edge of digital technology, Rain Room is a carefully choreographed downpour – a monumental installation that encourages people to become performers on an unexpected stage, while creating an intimate atmosphere of contemplation. The work also invites us to explore what role science, technology and human ingenuity might play in stabilising our environment by rehearsing the possibilities of human adaptation.

rAndom International said: Rain Room is the latest in a series of projects that specifically explore the behaviour of the viewer and viewers: pushing people outside their comfort zones, extracting their base auto-responses and playing with intuition. Observing how these unpredictable outcomes will manifest themselves, and the experimentation with this world of often barely perceptible behaviour and its simulation is our main driving force.

Finding a common purpose as students at the Royal College of Art, rAndom International was founded in 2005 by Hannes Koch, Florian Ortkrass and Stuart Wood. Today the studio is based in Chelsea – with an outpost in Berlin – and includes a growing team of diverse talent. With an ethos of experimentation into human behaviour and interaction, they employ new technologies in radical, often unexpected ways to create work which also draws on op art, kinetics and post-minimalism.

rAndom International have gained international recognition, inspiring audiences from broad multidisciplinary interests. A breakthrough work of 2008, Audience, marked rAndom’s first installation with audience participation. Motorised mirrors disconcertingly respond to human activity in their midst in inquisitive, synchronised movements, with the viewer becoming both active agent and subject of the piece. Swarm, a light work of 2010, emulates the behaviour of birds in flight: the sound created by the presence of visitors causes the abundant individual light sources to respond in swarm-like formations. With Future Self, a new commission by MADE Berlin in 2012, the studio explores the direct interaction of the viewer with the full body image of the self, represented in light in three-dimensions.

Other notable commissions include Reflex, a large scale light installation that inhabited the windows of London’s Wellcome Trust for one year, and the studio’s scenography for Wayne McGregor’s production, FAR, presently on world tour. rAndom International’s kinetically responsive sculpture Fly was premiered at the last Moscow Biennale of Contemporary Art, while intelligent light installation Swarm Study / III is on display permanently at the Victoria & Albert Museum, London.

rAndom International are represented by Carpenters Workshop Gallery, London and Paris. An overview of their work, Before the Rain, is on show in Paris 8 September – 21 December 2012. Prior to this they have exhibited at Tate Studio at Tate Modern, Pinakothek Der Moderne, Munich and Museum of Modern Art, New York. They have won a number of awards including Designer of the Future 2010, Prix Ars Electronica – Honourable Mention, CR – Creative Futures Award, Wallpaper* Award and were listed in the Observer’s Top Ten Creative Talent in the UK. Earlier works form part of the permanent collections at the Frankel Foundation for Art, the Victoria & Albert Museum and the Museum of Modern Art, New York.

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at the Barbican appeared first on Dezeen.

An exhibition pays tribute to the human aspect of the influential school

Beginning tomorrow, London’s Barbican Art Gallery will kick off a several-month-long Bauhaus-themed exhibit—the UK’s largest in four decades—in Bauhaus: Art as Life. The 400-piece show will cover a wide swathe of topics, from art (paintings, ceramics) to society (photographs of social events), featuring major Bauhaus contributors such as Josef Albers, Paul Klee and Marianne Brandt. To make the show even more dynamic and interactive, extensive programming will supplement the show. We asked Barbican Centre’s art curator Catherine Ince to give us more insight into the new exhibit.

What’s the reason for the timing of this show?

It’s been such a long time since there was a survey of this school in this country. At this particular moment of time in terms of art education, there are some interesting changes going on—there’s a lot of debate about art schools. It felt right to be looking at Bauhaus as a historical subject but also show it still has relevance.

Tuition fees keep going up and up. It makes studying art a difficult decision to make because people are backed into a corner more and more about where they put their money for their education. There’s a strong tradition in this country of experimental art schools that are free, liberal places, and you sometimes see that dwindling a bit in the corporatization of education.

What role does Bauhaus play today?

The visual, aesthetic influence is still very prevalent. People are interested in the modernist social project and revisiting some of those slightly utopian aspects… There was a lot of tension in Bauhaus; it wasn’t always this happy community that all did the same [thing] together. There was energy and change and people working together or working against each other. It’s a socially oriented attitude that I think still has a lot of relevance for people. A lot of the imagery we’ve drawn out in the show is trying to shine a light on some of those human aspects of Bauhaus as well.

How is this show different than MOMA’s 2009 show, “Bauhaus 1919-1933: Workshops for Modernity”?

Theirs was a very comprehensive historical survey. We’ve taken a similar chronological narrative but tried to draw out key themes that are interesting to us; particular turning points in time or the people—their intimate personal relationships—and some of that zany stuff. The human dimension.

During the process, what discoveries provoked you as a curator?

We selected a number of works made as gifts between students and masters, and they’ve been particularly wonderful to come across. Some of those works are pretty powerful—they’ve got a really interesting narrative behind them. For me, it’s been fun to bring textiles into the show. We’ve particularly tried to foreground the work of women at the school. They’ve always made up a high percentage of the student body but generally were pushed into the weaving workshop. There were few women who stepped outside of that and managed to forge a different territory. We’ve got some incredible weavings.

We had one private collector who recently discovered a Marianne Brandt teapot that has never been seen before, so that will be the first time it’ll be on public display here [in the UK].

What’s the goal behind the huge list of scheduled events?

It’s about drawing out some of the themes from the show that we want to expand on or thinking from the Bauhaus that still has relevance. Because we’re a cross-arts center, we wanted to reflect on some of that.

What are some highlights from the show’s calendar?

We have a film week. Film wasn’t really embraced as part of the Bauhaus, but there were a few students who were particularly interested in the potential of film.

We’ve got several descendants of Bauhaus artists coming to talk, such as Peter Fischli. Fischli’s father Hans was from the Bauhaus, and Peter will be talking about growing up in the Bauhaus environment and how it’s affected his own art practice. We [also] have Gunta Stölzl’s daughter, who’s going to give a history of her [mother’s] life and work she did in Switzerland after she left the Bauhaus.

We’re having a big party on June 23. There was a lot of partying and carnival that happened at the Bauhaus, so in the afternoon you can come and make kites because annually they had a kite festival.

“Bauhaus: Art as Life” will be on display at the Barbican Gallery from 3 May through 12 August 2012.

Barbican Art Gallery

Barbican Centre

Silk Street, London, UK

EC2Y 8DS

Dezeen Screen: in this interview from our series filmed at the OMA/Progress exhibition at the Barbican in London, OMA partner Iyad Alsaka talks about the firm’s work in Arab countries. Watch the movie »

Above: photograph is by Blommers Schumm

Dezeen Wire: London’s Barbican Art Gallery will broadcast a live stream of a debate featuring all seven partners of architecture practice OMA in public conversation for the first time ever at 7pm this evening.

The discussion will be chaired by Tate Modern director Chris Dercon. Click here to watch it via the Barbican’s Facebook page.

See our story on the OMA/Progress exhibition at the Barbican here and a collection of interviews filmed with OMA director Rem Koolhaas and other partners on Dezeen Screen.

Here are some details about the event from the Barbican:

Barbican Art Gallery: live streaming of sold-out OMA debate with Rem Koolhaas and Chris Dercon, Director, Tate Modern – 7pm tonight

Barbican Art Gallery is delighted to announce the live streaming of tonight’s sold-out event OMA: Show & Tell from 7pm on Facebook via UStream. Chaired by Chris Dercon, Director of Tate Modern and held in the Barbican Theatre, the special event brings together all seven OMA partners – Rem Koolhaas, Victor van der Chijs, Reinier de Graaf, Ellen van Loon, David Gianotten, Iyad Alsaka and Shohei Shigematsu – for the first time in public conversation.

OMA: Show & Tell is part of a vibrant events programme including talks, salons, debates, tours and workshops accompanying Barbican Art Gallery’s autumn exhibition OMA/Progress, from 6 October 2011 to 19 February 2012. This is the first time the Barbican Art Gallery has live streamed an event.

To view the live streaming, please click here, and ‘like’ the Barbican Art Gallery Facebook page:

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