Despite a dynamic digital interface for day-parting, we wanted to be sure that the quality of light portrayed on screen was rooted in the wisdom of Impressionism. Therefore, we commissioned an illustrator—the brilliant Veronica Lawlor—to document sunsets and skies via watercolor that were later injected into system as HEX codes.

The wall served two purposes: the discovery of compelling stories, and utility of information gathering. Because the Science Building was the first building of a campus-wide transformation, we also wanted to design a platform that was scalable not only across multiple sizes and locations, but also as a bedrock for additional experiences and applications.

When it’s raining in the fall, it looks and behaves totally different than a sunny day in spring. After hours it looks and behaves differently than in during the workday. To induce engagement, a content layer in the the foreground dynamically responds to people in the space; an individual or group dwelling close by might be served up story content based on their position in space which they can then interact with via touch for a deeper dive.