dune - progressive realities 01

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Dunehaslanded!

www.studioroosegaarde.net www.studioroosegaarde.netwww.cbk.rotterdam.nl

Ervaar Duin langs de Maas in de Esch,Rotterdam

Experience Dune along the Maas River in the Esch, Rotterdam

O�ciële opening29.10.2009, 19.00 uurMet dansperformancesen meer...

Progressive Realities — 01O�cial opening29.10.2009, 7 PMWith danceperformancesand more...

Dune

An Interactive Landscape by Daan Roosegaarde€ 15,-

091006_COVER_PRINT.pdf 1 07-10-09 11:13


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思考图像

22.06.2003Enschede – NLThink Image

Think Image Rotterdam — NL 08.07.2006

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思考图像

思考图像

412.08.2007Hong Kong – CNThink Image

思考图像

514.09.2002Morocco — MAThink Image

Note Morocco — MA 11.2003

笔记

6

我穿行于摩洛哥附近的沙漠。地平线，虽然看似静止，可有些东西却是那样的生动：平直的地平线渗透着游牧人游走的剪影，太阳的炙烤让所有的线条流动起来。我的周围是空空荡荡的。我离开了车子步行以便在这样的辽阔下寻获一个参照点。沙漠中，透过商旅队伍去看地平线，我再次获得人类的尺度并开始探索在我面前的景观。

I am walking through a desert near Morocco. The horizon, a seemingly static line, reveals itself as something incredibly dynamic upon closer glance: the straight line, infused with the silhouettes of traveling nomads and blurred by the heat of the desert, takes on a fluid form. Around me, there is nothing. I catch myself walking away from the car just to reestablish my point of reference. Seeing the horizon in relation to the caravan, I get a sense of the human scale again and start to explore what is before me.

反应

712.12.2007Amsterdam — NLResponse

“进入第二自然”

“EnterSecond Nature.”

思考图像

824.05.2007Rotterdam — NLThink Image

Introduction Rotterdam — NL 21.08.2009

导言

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Dune is an interactive landscape that reacts to human behavior. A hybrid of nature and technology, it consists of a large quantity of fibres that brighten in response to the sound and motion of passing visitors. This ‘techno-landscape’ allows one to investigate the fu-turistic relationship that nature has with urban space via walking, looking and interacting.

沙丘装置是能够对人类行为作出反应的交互式景观。它是一个自然与科技的混合体，它包含大量的纤维，路人的声音和动作可以使它发光。这个“科技景观”让人们可以在行走，观看和互动的过程中去探讨未来自然和城市空间之间的关系。

Note Rotterdam — NL 02.03.2007

笔记

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目标是让装置学习“言行举止”，让它对到访者更敏感。因此，沙丘装置装备了几种“情绪”――当没人的时候，它会进入睡眠，在黑暗中散发着柔和的光。当你进入时，光会随着你的行走出现，重复强调着你的每一个行动。当你发出很多噪音时，沙丘景观会疯狂的运作起来，闪烁着抗议。

The objective was for it to learn how to ‘behave,’ to become more sensitive towards the visitor. Thus, Dune is equipped with several ‘moods’ — when nobody is there, it falls asleep, glowing softly in the dark. As you enter, light appears where you walk, accentuating your every move. When you make a lot of noise, the landscape goes crazy and lightning strikes!

Response Los Angeles — USA 11.04.2007

反应

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“给我更多！”

“Gimme more!Gimmemore!”

反应

1220.04.2007Ljubljana — SLResponse

“我不敢进入这里――在我们的文化里，我们习惯了认为墙壁里有偷听的耳朵。”

反应

1320.04.2007Ljubljana — SLResponse

“I don’t dare to enter this — in our culture, we are used to thinking that walls have spying ears.”

“On both sides, I can distinguish black tubes with white tops. When I make my first move, they light up. The mur-mur of wind and water sounds reso-nates in the back-ground. I continue on my way. The light is with me. I start to under-stand, and I scream! A wave of light and sound rolls through space, is reflected and comes back to me…”

反应

1412.12.2007Amsterdam — NLResponse


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“在两边，我可以分辨出黑色的管子和白色的上盖。我做出第一个动作，它们亮起来。低吟的风声和水声在背景中共鸣着。我继续行走。灯光跟随着我。我开始明白，然后我尖叫起来！一股光与声的波浪在空间里席卷，随之反射向我……”

反应

Amsterdam — NLResponse

思考图像

1630.04.2008Basel — DEThink Image

Note Hong Kong — CN 00.00.0000

笔记

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我正在为香港市政厅安装着大型版本的“沙丘”景观装置。小孩们和艺术品玩耍着，并且每天都带来更多的伙伴。有时候我发现了他们玩耍时发生的奇妙景象。他们开始模仿交互式“沙丘”的声音来交流，而并非用他们熟知的中文来表达他们的快乐。在完全接受人造景观后，一种新的混合景象出现了。

对于沙丘装置，我总感觉与亚洲有种不可否认的密切关系。因为在那里我们曾经有相当多的机会去展示沙丘装置，正是在那里它被发展起来并且变得“成熟”。沙丘装置的动作模式，某种意义上来说，是亚洲访问者接近它时被发现的敏感性的最好反映。在它的身上，人们表现出更多的对科技毫无疑问的接纳，因为它被频繁的嵌入了日常生活里。在这样的语境下，机器和人类的两种品质结合起来。

在斯洛文尼亚(Slovenia)时，人们认为我们的交互式装置“流动”威胁到他们的隐私。对于大多数参观的人都在一个“隔墙有耳”的体制环境里成长的，互动墙体这一概念被认为是令人不安的想法。与之形成对比的是，两个月以后，在洛杉矶，人们却是非常喜欢这种互动，因为这个艺术品成为他们表达自我的一种呈现与延展。它成为了一个能释放人们最外向性格的界面：在这里，来访者换位为表演者，艺术品成为媒介。而我，作为一个艺术家，则是一个安静的“陪伴者”――就像一位建筑记者阿黛尔. 仲（Adele Chong）在她的文章《我睡在计程车里》里称呼我一样。我并不是对微芯片和电子很感兴趣，我感兴趣的是这些系统能如何的适应到现实的生活中。我希望至少能制造出科技和人类感觉上的共存，做一些东西能让我和你的大脑融合，让人们可以通过感情，精神和感觉的方式联系。我相信，科技是一种强大的工具去创造这种技术的诗意。

I am installing a large version of Dune in the City Hall of Hong Kong. Chinese children are playing with the artwork. They come back each day with more and more friends. Then, something bizarre happens as I watch them play: instead of using the Chinese language to express their enjoyment, the children start communicating with each other by mimicking the electronicallygenerated sounds made by Dune. I then realize that a new symbiotic situation has emerged as a result of this interaction between the natural and artificial.

When it comes to Dune, I have always felt an undeniable affinity with Asia. Because of the number of opportunities we have had to show the piece in the region, it is there that the work has had the most time to develop and ‘mature.’ Dune’s behavioral patterns, in a sense, best reflect the sensibility which was revealed in the way visitors from that part of the world approached it. There is a more unquestioned acceptance of technology because it is more intensely embedded into everyday life. In this context, machine and human qualities become merged.

When our piece Flow 5.0 was shown in Slovenia, there were people who expressed fears that their personal privacy was being threatened. For a majority of the visitors had grown up in a regime in which “walls had spying ears”, the idea of an interactive wall was an uncomfortable thought. In contrast, when the work landed in Los Angeles two months later, the people there loved it because they perceived it as an extension of their ego. It became an interface that brought out their most extroverted qualities: here, visitor falls into the role of the

performer with the artwork functioning as a mediator. I, as the artist, become a silent “chaperone,” as the architectural journalist Adele Chong calls me in her essay ‘I Sleep in Taxis’. While I’m not so concerned with microchips and electronics, I am interested in how these systems can be adapted to real life in creating a sensual coexistence between technology and humans. The bottom line is, I have a need to make things which allow my brain to merge with yours, a need to create realities which people can relate to in an emotional, spiritual and sensual way. I believe that technology is a great tool when it comes to the generation of this kind of ‘technopoetry’.

反应

1814.07.2007Rotterdam — NLResponse

反应

1908.11.2007Hong Kong — CNResponse

“Kids mimic its sounds and treat it like a friend!”“孩子们模仿它的声音并且把它当成了朋友！”

思考图像

2022.11.2007Hong Kong — CNThink Image

Note Rotterdam — NL 12.05.2007

笔记

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In 2007, I am awarded a commission to create a public interactive installation in conjunction with the Rotterdam City of Architecture series of events. With the pedestrian walkway of the Maastunnel as the chosen locale, we set out to develop a 50 meterlong Dune. After the official opening, the artwork embarks on a journey where it begins to establish a daily relationship with passersby. At 2 AM, adults walk by and shout at it while children show up to play with their new friend Dune on Sunday afternoons. After a while, I start getting phone calls from abouttobe married couples, asking for my permission to use Dune as a backdrop for their wedding photos. Well, of course. “It is public space,” I reply. “I don’t have much say in the matter.” Weeks later, I receive photos which depict a bride and groom embracing each other against Dune. I take two long breaths. My first instinct is to regard the images as pure kitsch.

In another sense, I am struck by the unlikely poetry of the combination: at what is probably one of the most important event of these people’s lives, Dune stands as a witness, highlighting how their bodies ‘behaved’ on the occasion. What the artwork generates becomes as important as the artwork itself: before Dune was installed, the Maastunnel was a dark place

where people did not feel particularly comfortable. This uneasy vibe persisted even after the incorporation of security cameras and guards later on. So indeed, it is ironic to see wedding couples frequenting the tunnel, filled with their positive hopes for the future, changing how people normally engage with the space and perceive their daytoday lives in relation to this revised urban experience. Most profoundly affected are the guards policing the site who happily relay the changed dynamic of the space whenever I drop by to check on how Dune is holding up against the cold, big, bad world.

在2007年，我受委托去创造一个公共的交互式装置，作为鹿特丹被倡导为建筑之城的一系列活动之一。选址是马斯人行隧道，于是我们开始创作一个50米的交互式“沙丘”景观。艺术品正式启动后，它开始了与日常环境关联起来的旅程。凌晨两点的人们对它狂吼着他们的欲望，周日午后小孩们与这个“沙丘”玩耍。在那之后，我开始收到新婚年轻人的电话：他们是否可以在那里拍他们的婚礼照。那当然是可以的，那可是公共空间，我回答他们，我对此没有任何意见。几个星期以后，我收到他们的婚礼照片，新娘新郎倚着沙丘装置相互拥抱。我深呼吸了两下。我的第一反映是这些照片太矫情。

从另一意义上来说，我被这种结合所产生出的那种不太可能的诗意冲击着：那是他们人生最重要的时刻之一，而“沙丘”见证了，点缀了他们此时此地的举止。艺术品产生的东西和艺术品本身一样重要：在“沙丘”到来之前，马斯隧道是一个让人感到不安的黑暗场所。即使摄像监视器和保安也没有消除这种状况。事实上，非常反讽的，现在可以看到新婚夫妇们经常出现在隧道里，用他们对未来积极的希望填充着那里，改变着人们通常与空间交织的方式并且让人们在感知日常生活时与城市的体验关联起来。受影响最深刻的是管辖那里的保安人员，每当我经过时，发现他们现在可以快乐地依靠这个动态空间来改变原来冷漠，黑暗的世界。

修订本

22‘04 — ‘09Rotterdam — NLRevisions

“Stronger, smarter, moodier…”

Revisions Rotterdam — NL ‘04 — ‘09

修订本

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/4.0 Dune officially makes its debut at an exhibition at Mon-tevideo, Amsterdam in 2006. The first version runs on Windows by way of an old PC laptop. DMX systems are hacked into in or-der to get the right effect which is achieved using four groups of dimming lights, one microphone and four sound-speakers. Simu-lated wind and water sounds are integrated to resonate a ‘natu-ral’ setting. Programming be-comes the most important part of the installation when it comes to generating the right ‘mood.’ As a basic rule of thumb, Dune’s response to its environment is based on three primary moods: upon detecting passing visitors, the fibers automatically light up; speech and various sounds bring it to a climactic point in which all the lights begin to glimmer excitedly. Thereaf-ter, it falls into a default idle mode when no one is around. At this point, the main emphasis is primarily on the development of Dune’s ‘sound engine’ or its built-in sensitivity to different manner of sounds ie. repetitive mechanical sounds are ignored in favor of more organic, human sounds. /4.1 It is decided that in or-der for Dune to evolve to a whole other level, it needs to become more diversely receptive to the random aspects of human behav-ior – in short, it needs to be given a soul. Thus, Dune so-called ‘ghosts’ are written into

the software in order to make its behavior more intuitive, generat-ing a character and will of its own. These entities ‘live’ within the shell of the installation, appearing sporadically as dotted flashes of light and making them-selves scarce in the absence of visitors. More ghosts are added over time in conjunction with a mega technical upgrade involving a Windows embedded computer which adresses the system of several electronic microchips especially customized for the running of Dune. The eventual addition of 960 groups of dimming LEDs makes way for the generation of more diverse moods, culminating with a twinkling effect that occurs like a lightning bolt when people scream at the installation. Dune also undergoes a form of puberty – its ‘voice’ deepens with the introduction of more immersive water sounds. It is as if one has entered a submarine. It develops a memory for people and places, remembering sounds and varying interactions, learning to adapt to different environments. Matu-rity also comes with its share of attitude – and an increasing im-patience for monotony. Programmed to give off deviating responses at this point, Dune instinc-tively expects the same behavior from its human visitors, ignor-ing those who fail to make the cut by clapping repetitively like trained monkeys. People begin to furrow their brows, overcome with a mild feeling of dejection. One is curiously offended by Dune’s

near death, the ghosts chase you, laugh at you. They are assertive with the people they develop a liking for. Sometimes its ap-proach is unpredictably gender-specific, prompting people to ask: who does Dune like better? Boys or girls?

/4.2 The most recent version of Dune sees an upgrade involving our own microchip embedded system utilizing C code and compact Mas-tercircuit which supports a wide range of new sensors. At this point, the installation is IP65 (water resistant) and achieves a new kind of independence: each module, measuring 1 x 0.5 me-tre, is outfitted with its own Studio Roosegaarde electronic circuit, making it more energy-efficient than previous versions. Dune develops the capacity to store calibrated sensor-settings even when the power is down. At this stage, its memory is in the best condition ever, endowing the ghosts with a renewed sense of confidence. They are at liberty to come out for a walk at times, flexing their muscles when no one is around. Hiding has become passé, an activity for wimps.


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human-like insolence inasmuch as one is in wonder of its sensitiv-ity to body language.

/4.1 Where do we go from here? Visitors get bored easily but so does Dune. A new hunger for more sophisticated human input arises. This is accordingly alleviated by the presence of newly added microphones that allow for Dune to be inundated with sound waves. A vibrating vibe is hence created between man and machine wherein the visitor is subtly enveloped in a combination of natural and artificial sounds (think walking through a cricket-infested forest with the throb of your own beat-ing heart lodged in your ears) which course to-and-fro from the installation. All this while, the ghosts in the shell are striking up an acquaintance: a friendship dance ensues, setting off unique patterns of light which give Dune the impression of being rather eccentric in behavior. Its fibers flicker wildly, running ahead of you when you walk by. Because of Dune’s increasingly sassy behav-ior, security becomes more of a concern. As a precaution, ‘Plan B Worstcase’ is brought into play to create minimal interaction per module. This is particularly helpful when the data cable con-necting modules is damaged due to any form of physical aggres-sion on the part of the visitors. This particular measure ensures that Dune remains on its feet even when one module goes down. Refusing to say die even as it is


修订本

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Dune in a shipping crate, on its way to Hong Kong

Note Hong Kong — CN 12.11.2007

笔记

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今天早晨我在计程车里醒来时完全不知道自己身在何处。在过去这几个月里，每个星期我都在不同的城市穿行，我完全茫然了。我需要智能手机里的谷歌（google）地图去定位自己的行踪。根据GPS卫星定位系统计算，我在地球上的存在就是地图上那个闪烁的彩点。这种回到家的感觉很奇怪，一个物理上存在的人类感官竟然是被一个虚幻世界里的电子设备所核实的。

This morning I woke up in a taxi with absolutely no idea where I was. After landing in a new city every week for the past few months, I am in a daze. Unaware of my location, I take my Smartphone and open Google Maps to locate my whereabouts. With the GPS kicking into action, my presence on the planet is confirmed in the form of a brightly colored dot. I get a strange sense of being at home, a physical, human feeling which is strangely verified by an electronic device with ties to the virtual world.

报告

2729.10.2009Rotterdam — NLReport

“Dune haslanded. Now open. Free. 24/7.”“沙丘装置已经落成。现在开放。免费。七月二十四”

报告

2829.10.2009Rotterdam — NLReport

沙丘装置4.2，一个由当.罗素嘉达工作室研发的新型艺术品已经因应鹿特丹CBK的委托而被创造出来了。一个由大量微芯片，电子和发光二极管所组成的60米长的交互式景观被设计成能根据人类的活动而发光，让与之接触的人能在行走中，玩耍中和一般互动中去感受和探究自然与空间之间的交互。

Dune 4.2, a new artwork by Studio

Roosegaarde, has been created by order of a

commission from CBK Rotterdam. Composed out

of large quantities of microchips, electron-

ics and LEDs, this 60 meter-long interactive

landscape is designed to brighten in accor-

dance to human movement, allowing visitors to

investigate the futuristic interplay between

nature and space by means of walking, playing

and interacting.

Digital rendering depicting a permanent installation of Dune in De Esch

位于德易斯驰（De Esch）的永久沙丘装置的数码渲染图

Report Rotterdam — NL 29.10.2009

报告

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曾经出现于包括英国伦敦泰特现代艺术博物馆和香港市政厅等国际场合的升级版沙丘装置，现在将永久“居留”在鹿特丹马斯河边德易斯驰街坊里。沙丘装置4.2结合了之前版本的经验和技术，我们非常有幸能邀请鹿特丹的居民去体验“光之旅”这个活动的“科技景观”。

Conceptual rendering of a direct tramline to De Esch

Having been presented at inter-national venues ranging from the Tate Modern in London to the City Hall in Hong Kong, an up-graded version of Dune now takes up permanent residence in Rot-terdam besides the Maas River in the neighborhood of De Esch. Dune 4.2 combines the experi-ences and technologies of the versions before it and it is with pleasure that we invite the people of Rotterdam to experi-ence a ‘walk of light’ through this dynamic ‘techno-landscape.’

德易斯驰（De Esch）电车概念渲染图

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3000.00.0000Location » XXPage typeArtist Profile — —

艺术家简介

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Roosegaarde discussing his work with J.P. Balkende, the Prime Minister of the Netherlands

Daan Roosegaarde is an artist working in Rotterdam, the Nether-lands. He studied at the Academy of Fine Arts (AKI) in Enschede and received a Master at the Berlage Institute, a Postgradu-ate Laboratory of Architecture in Rotterdam. Roosegaarde’s work explores the dynamic relation between architecture, people and e-culture. His sculptures create a situation of ‘tactile high-tech’ where visitor and (public) space become one. Roosegaarde’s interactive projects are inter-nationally exhibited at V2_, Netherlands Media Art Institute Montevideo, Tate Modern London, YCAM Japan, National Art Cen-ter Tokyo and Venice Biennale 2009. Currently, Roosegaarde is

the creative director of Stu-dio Roosegaarde, an independent artistic laboratory in which his interactive artworks are created.

罗素嘉达与荷兰首相巴尔克嫩德讨论他的作品

当.罗素嘉达是一位现处荷兰鹿特丹工作的艺术家。他曾就读位于恩斯赫德（Enschede）的美术学院（AKI）并在位于鹿特丹的贝尔拉格建筑实验室（Berlage Institute）获得硕士学位。当.罗素嘉达的作品探究着建筑，人和电子文化之间的动态关系。他的雕塑作品创造出“触动式高科技”的情景，让人与（公共）空间在这样的交互中成为一体。罗素嘉达的交互式作品曾展览于V2荷兰蒙得维的亚媒体艺术研究所，伦敦泰特现代艺术博物馆，日本YCAM，日本国立艺术中心和2009威尼斯双年展。现在，当.罗素嘉达是罗素嘉达工作室的创意总监，罗素嘉达工作室是一个独立的艺术研究实验室，正是在这里，这些交互式的艺术作品被创造出来。

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3100.00.0000Location » XXPage typeOther Projects — —

其它项目

31

Other Projects — —

其它项目

32

Liquid Space 6.1 is a public in-teractive work which was tempo-rarily installed on the island of Terschelling in the Netherlands for Atelier Oerol. Situated in the heart of the forest, visitors had the opportunity to redis-cover the project in a naturalis-tic setting, giving way to unique interactions which triggered new energies provoked by the lush landscape of the island and the intervention of technology.

Liquid Space 2.0 is an interac-tive ‘living cocoon’ which physi-cally adapts to the sounds and motions of the visitors entering it. The work features an intrigu-ing fusion of sculpture, soft-ware and mechanisms. Implemented components were designed to play off each other, culminating to function as a cohesive, moving structure touting increasingly adaptive, sensual and dangerous sensibilities.

4D-Pixel is a smart surface which actively reacts in accordance to voices and music. With a built-in quality which enables it to spell out pre-programmed ‘relievo’ let-ters, this interactive work fea-tures a mix of electro-magnetics, software and electronics and com-prises hundreds of pixels which respond to the fluctuating dynam-ics detected in incoming sound frequencies.

Sustainable Dance Floor is an interactive dance floor which

Liquid Space 6.1, 2008 - 2009

Liquid 2.0, 2006

4D-Pixel, 2004 - 2005

Sustainable Dance Floor, 2008

Other Projects — —

其它项目

33

generates electricity via the movement of the party revelers dancing on top of it. By far the most green-conscious project ever to emerge from the portfolio of Studio Roosegaarde, the SDF is the first floor of its kind that resourcefully utilizes mechanisms and embedded technologies to gen-erate energy.

Flow 5.0 is an interactive verti-cal landscape made out of hun-dreds of ventilators. Like the other aforementioned works, it responds to sounds and motion. Reportedly developing an appeal amongst architects and designers, Flow subtly references the visual language of the ‘old’ while ex-tolling the future-forward quali-ties of ‘new’ – its intricate framework of flattened electri-cally powered fans is evocative of ornamental patterns from a more traditional time. Walk-ing through the installation the visitor is engulfed in an artifi-cially generated wind, develop-ing a heightened consciousness of both his body and his immediate environment.

Wind 3.0 can be interpreted as a precursor to Flow. Directly ad-dressing the relationship between nature and technology, the in-stallation showcases a merging of electronics and ventilators and presents a harmonious equipoise between high and low tech. Be prepared to be blown away.

Flow 5.0, 2007 - 2009Flow 5.0, 2007-2009

思考图像

3412.05.2008Hong Kong — CNThink Image

“手提电脑所在的地方就是家。”

“Home is where the laptop is.”

The people behind Studio Roosegaarde are:Daan Roosegaarde (creative director)Peter de Man (partner in interaction)Axis Stuifmeel (partner in assembly)

Young Professionals at Studio Roosegaarde:Simon BondRuud BijnenBart BouwmanJoão CarneiroBruce FerwerdaChristiaan JansenCorniël JoosseKatie GaudionMarcel Jong BawRoald JoosenTheo KnoesterMark van MeerkerkJohan OttenMafalda RangelMarnix RijnartVincent RuijtersMark SchoutenUrvi ShethRuben ThierPepijn ThissenAngelique Tran

Photographs: Lotte Stekelenburg and Daan RoosegaardeConcept, graphic design and editing: Paul C. Swagerman, assisted by Gerard VinkEditorial direction and copy- editing: Adele ChongChinese translation: Abingo Wu www.studioroosegaarde.netwww.lottestekelenburg.nlwww.paulswagerman.nl

© 2009 Studio Roosegaarde BV

Studio Profile Rotterdam — NL 29.10.2009

工作室简介

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As the world gradually shifts from an analogue to a more digi-tal age, Studio Roosegaarde aspires to create works which explore the dynamic between ar-chitecture, people and e-culture. The ‘home’ of Daan Roosegaarde, SR is defined as an artistic laboratory which develops inter-active technologies and designs for the creative industry. Internationally renowned for interactive art works like Dune and Sustainable Dance Floor, our goal is in generating sensual and futuristic projects which aim to engage with the visitor on a more heightened level. Our projects have been exhibited in prominent venues such as Rotterdam City of Architecture, Netherlands Media Art Institute (NAI), V2_, Tate Modern London, Microwave Hong Kong, YCAM Japan and the National Art Center in Tokyo.

随着世界逐渐从模拟式的年代向数码式的年代转变，罗素嘉达工作室热衷于创造能够探讨建筑，人和电子文化之间互动关系的艺术作品。当.罗素嘉达的“家”――罗素嘉达工作室是一个艺术实验室，它致力研发交互式技术和为未来创意工业而设计。沙丘装置和可持续的舞蹈地板这些交互式作品都获得了国际的声誉，我们的目标是创造出更高水平的能与人交互的未来的感应式的作品。我们的作品已经展览于国际场合，如V2荷兰蒙得维的亚媒体艺术研究所，伦敦泰特现代艺术博物馆，日本YCAM，日本国立艺术中心。

Dune 4.2 / De Esch has been made possible by Studio Roosegaarde, CBK Rotterdam, OBR Rot-terdam, Deelgemeente Kralingen-Crooswijk, Stichting Kunst in de Esch, Stichting NRC, Gemeentewerken Rotterdam.


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Dunehaslanded!

www.studioroosegaarde.net www.studioroosegaarde.netwww.cbk.rotterdam.nl

Ervaar Duin langs de Maas in de Esch,Rotterdam

Experience Dune along the Maas River in the Esch, Rotterdam

O�ciële opening29.10.2009, 19.00 uurMet dansperformancesen meer...

Progressive Realities — 01O�cial opening29.10.2009, 7 PMWith danceperformancesand more...

Dune

An Interactive Landscape by Daan Roosegaarde€ 15,-

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dune - progressive realities 01

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