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91 mirrors reflect the dynamic of controlling what we see

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Nouf Al Mousa (Dubai)

Thinking about the artistic community around “PrusaLab” and its collaboration with “Prusa Research” in the Czech Republic, which represents a creative high-tech space that attracts talents, crafts, architecture students and small entrepreneurs, is one of the pillars of the research on how you build modern creative social systems. It is self-supporting and contributes to the development of the exceptional integration of artistic creativity and technology, since the work of “PrusaLab” is focused on accommodating everyone who has a desire for creativity in a space equipped with its equipment, especially within 3D printing and computerized manufacturing, in addition to the availability of expertise in electrical engineering, which contributed to the installation work “Reflection” by architects Adam Siegler and Peter Vasek.
What characterizes the 91 mirrors that formed the installation work is their dynamic ability to control what we see, amidst the interactive experience between the work and the audience. Harmony is able to attract the visitor’s attention with the harmony of “movement ” and its congruence with him within the immediate display of the installation work, and in fact he has a special intelligence that is prepared in advance and he is in control of everything that the recipient will see in front of an integrated and charming work at the same time. time, it is necessary to search for its central details and the technical stages through which the work has passed in order to reach the essential meaning for someone to see its reflection in undulating mirrors, reflective public spaces, surrounded by an aura of artistic space that gives its language is different on the visual landscape.

city ​​and technology
The selection of the installation work “Reflexe” – in the Czech language “Reflexe” – was part of a competition for artists at the “Signal Festival”, which sheds light on new art and technologies in Prague, Czech Republic. important international cultural collection that looks at art, urban space and technology Modern, through which the architects Adam Siegler and Peter Vasek set out to search for the first challenge in the installation work, which is “how to control mirrors.” A number of detailed roles for creative spaces such as “PrusaLab”, to arrive at a precise definition of the control mechanisms capable of making the mirror move smoothly, according to architect Peter Vasek, who explained how they initially encountered on many technical problems that needed to be solved, considering it is wonderful to see all these creative volunteers contributing to uncovering solutions across the PrusaLab area. About this, Jan hanzelka, a specialist on the PrusaLab team, said in a documentary interview about the art project that when Adam and Peter came to their lab, they had done a lot of work: They have the basic idea and they know how they want work to see in the final form as what it is. The shape of the mirrors and they also had the mechanical idea of ​​the movement and what they intended to achieve was to improve the movement mechanism for 3D printing while maintaining the high quality of the printing, in addition to their participation in the completion of ” the construction work” of the installation work.

working spirit
Plywood has been used in the construction process to be lightweight, portable and easy to manufacture using CNC machining. Matej suchánke, a specialist in the PrusaLab team, who discussed the area of ​​”electric motors” in installation work, believed that each model in the work had two motors. Through them, they figured out how to make the mirrors move by build an electronic control that can control 91 mirrors, and that the control device must not only give the recipient a sense of the dynamic variables regarding environment, but is also a support tool for each mirror that works independently, all of which have been supported to appear accurately. At the same time, through this piece, which is very important for the installation work as a whole, all the pieces were collected and installed in the “Prusa Research” warehouse, and were under test for several days, to remedy any defect resulting from the test phase, after which they were transferred to the “Convent of Saint Agnes”, the Old Town of Prague, and from there the work was first revealed and people learned about the spirit of the “movement” work and the way it can transform and play with fantastic dimensions of reflection. Of course, everyone celebrated the work in a different way, suggesting a more complex level of interactive experience.

DF

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