Changi Airport Previews Incredible 70-Metre Immersive LED Wall

Singapore’s Changi Airport has started providing peaks inside the new Terminal 4, which is set to open before the end of this year. One of the big features is a vast immersive fine pitch LED video wall at the security screening area.

Instead of small screens and talking flat ladies droning on endlessly about what you need pull out of your carry ons (a staple at many, many airports), the content is a 50-minute long, custom-created playlist of 17 targeted pieces. It is montages of scenes from around the region and in Singapore, and a Rube Goldberg-ish animation about what happens with checked bags.

Source: Changi Airport Group

Based on the video, it looks like the content elements are all interconnected by a piece that looks and sounds a bit like kinetic flip-discs.

There is another LED wall embedded in a retail zone that shows a traditional Singapore streetscape. It comes alive and plays a film short on a schedule.

The wall above T4’s centralized security screening area is a 6mm pixel pitch NanoLumens display, and the Atlanta company also provided the 10-meter-wide by 6-meter-tall 4mm pitch display for the streetscape – the screen built directly into a shophouse facade with several faux building fronts that highlight the island nation’s architectural evolution from the 1880’s to the 1950’s.

The integrator on the project was Singapore-based Electronics & Engineering PTE LTD.

The 70m wall’s content was created by Montreal’s Moment Factory, which has done incredible work in all kinds of venues. The company also did the streetscape video.

Changi is consistently rated as the world’s best airport, even besting Newark and glorious LaGuardia! This is as good as I have seen in an airport job, and why I think it works better than LAX’s international terminal (a very high profile digital project) is that the big video wall is precisely in a position where it will be seen and where it will entertain people. Security screening lines are a massive irritant, and this content will engage and distract people as they trudge through the snaking line. By comparison, LAX’s screens are up high, post screening, in an area where people are on the move.

No official indications on the tech used or integrators behind this, but I am reliably told the big 70-metre display is a 6mm pitch NanoLumens product, and the streetscape one is also Nano’s.

Here’s a fly-through video of the new terminal, which is loaded with tech designed to streamline and improve the passenger journey …

Projects: 100 Square Metres OF LED In Lithuanian Cinema Lobby

This is the Forum cinema in Kaunas, Lithuania, which has invested in a big way in 3.9mm pitch LED screens and ambient content around the theatre’s lobby. The set-up was designed and installed by the Italian firm MacroPix. The total resolution is 4K plus and there is about 100 square metres of digital on the walls. Very impressive!

Hat tip to Dovydas Stukas of TD Baltic for letting me know about the job.

 

Why Did They Do This?

A Shenzhen company called Nexnovo sent me pix, tech details and a video about a transparent LED mesh wall on the corner of a building in Tokyo, and I am scratching my head wondering why the job was done like this.

The building owner, or someone, had custom versions of the mesh cut so they would fit the exact dimensions of the windows, leaving wide vertical and horizontal sections of the building’s cladding empty.

The visuals that run at night, as you can see in the video, look pretty sharp and bright. But it also looks like a circa 2005 video wall with extra wide bezels. The gaps between the LED segments are wide, so the “full screen” visuals look awful.

Very odd. The only reason why they’d do that, as far as I can figure out, is that mounting them inside in the windows was a lot cheaper. There are lots of instances out there of whole building facades being draped in one solid LED mesh screen, but that’s going to cost more and MAYBE need local zoning approvals.

Projects: This Sliding, Morphing LED-LCD Wall Takes Closer Looks At Human Brain

This is very impressive – a 20-foot tall direct view LED wall sync’d with seven 72-inch LCD monitors that crawl up and down the wall on side-by-side tracks, showing information about the human brain and the scientists pushing the boundaries of neuroscience research.

The monitors, when down at eye-level, are interactive, and when sliding up and down in sequences amplify and sharpen the lower resolution images behind them on the larger LED wall.

The permanent digital art installation was switched on recently on the ground floor of the new Jerome L. Greene Science Center on Columbia’s University’s Manhattanville campus is all about the mysteries of the brain and the people working upstairs who are unlocking them.

Here’s the story behind it:

The multiscreen floor-to-ceiling work, Brain Index, loops through large-scale models of the brain while telling the stories of individual researchers and their quests to push the boundaries of neuroscience.

“We’re trying to make the science in the building accessible and personal, and at the same time communicate how much we have yet to learn,” said Laura Kurgan, one of the work’s creators and an associate professor at the Graduate School of Architecture, Planning and Preservation. “The brain is this messy mystery of billions and billions of neurons.”

Three years in the making, the permanent exhibit is the brainchild of Kurgan, who also directs the Center for Spatial Research at the Architecture School, and Mark Hansen, professor and director of the David and Helen Gurley Brown Institute for Media Innovation at the Graduate School of Journalism. Their work was commissioned by Columbia’s Mortimer B. Zuckerman Mind Brain Behavior Institute, and it brings together art and science. It is designed to spark the same sense of wonder and curiosity in the public that drives the institute’s researchers.

“This collaboration, like the Zuckerman Institute itself, aims to promote a collision of ideas—both within and between the sciences, social sciences and humanities,” said Thomas M. Jessell, co-director of Columbia’s Zuckerman Institute.

The ground floor of the Greene Science Center is open to the public and serves as a neighborhood resource for brain science education. Across from the Brain Index is the Education Lab, which hosts a variety of hands-on programs year-round.

“It extends our mission to every person who walks through our lobby by giving them a vivid sense of what we’re trying to accomplish upstairs and why it matters,” said Kelley Remole, the Zuckerman Institute’s director of education and outreach.

The Brain Index features a wall-sized screen and multiple displays that show three different visualizations of the brain, sometimes simultaneously: the brain’s outer surface, the networks of blood vessels that feed it and the tangles of connections that link different regions. Based on scientific data, the visualizations take the viewer on a road trip of sorts as the camera pans, tilts and zooms to reveal new places from unexpected angles.

Snapshots of Zuckerman Institute researchers are superimposed on these maps of the brain. Eight scientists are introduced sequentially, along with interactive displays tied to the parts of the brain they study. Playful headlines sum up their work: “Fish Food for Thought” describes neuroscientist Nathaniel Sawtell’s search for analogs between electric fish and human electric brains, and “Go with the Flow” describes biomedical engineer Elizabeth Hillman’s study of how blood flow affects brain function and development. More researcher profiles are scheduled to be added in the coming months.

The installation’s emphasis on electronic data is a continuation of Kurgan and Hansen’s first collaboration, Exit, a visualization of global migration patterns that explored why people leave home. While the Brain Index looks inward, both share a desire to inform and educate. The Brain Index also builds on Hansen’s portfolio of public installations—he helped create the Shakespeare Machine in the lobby of the Public Theater as well as Moveable Type, a large-scale piece in the entry of the New York Times Building, another iconic building designed by Renzo Piano Building Workshop, the architectural firm that designed the Greene Science Center.

“The Brain Index is meant to teach and capture the public’s imagination,” said Hansen. “That was our only design constraint. The human-sized moving screens navigate the research taking place in the building and, like opening doors, invite the public to step up and explore.”

The project was assembled by a team of companies, led by Technomedia, with the help of Tait Towers and  AV&C.

I’m pretty sure I’ve never seen a white LED wall before (the black background of every other LED wall providing more contrast).