CHRONO MONOLITH

Large LED volumes usually play a loop. A loop cannot acknowledge you. The task was to make a room-scale object that appears to notice presence without resorting to gimmicks like mirrored silhouettes or floating name tags.

Give the monolith a single behaviour — attention. It leans, fractures and reassembles toward the boldest gesture in the room, and ignores small movement entirely. Restraint is what makes the response feel intentional rather than reactive.

Depth cameras resolve bodies into a coarse field of intent rather than skeletons. Visitors discover the rule by testing it: a raised arm produces a slow structural shift, a crowd produces a standing wave. The piece rests to near-stillness when the room empties.

One material, one light source, no colour except heat. At twelve metres, contrast does the work — the sculpture reads as mass and shadow first, detail second, so it stays legible from across a hall and rewards standing close.

• Depth-camera tracking pipeline with presence-field smoothing
• Real-time 3D choreography rendered to an LED volume
• Physically based fracture and reassembly simulation
• Show-control layer with idle, active and rest states

• Scale studies — testing gesture legibility at twelve metres
• Tracking calibration under stage lighting conditions
• Choreography passes for lean, fracture and reassembly
• Failure planning: idle loop, degraded tracking and safe-state content

An installation that reads as sculpture rather than screen. Because the interaction rule is singular and slow, visitors treat it as an object with temperament — and the technical stack disappears completely behind that impression.

• Interactive sculpture
• Motion-tracking pipeline
• LED volume content
• Experiential design direction