Studio founded by Candaş Şişman and Deniz Kader in 2011, developing immersive experiences, audiovisual performance and spatial storytelling across art, design and technology.
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Research notes for project planning
What the project record tells us
HAS Architects commission for Istanbul Design Biennale, 2016
A contemporary light dome answers a historic one
For Oculus at the 2016 Istanbul Design Biennale, Nohlab developed an audiovisual installation in Tophane-i Amire’s Single-Dome Hall, commissioned by HAS Architects. An inverted light dome responded to the historic geometry while presenting the architects’ projects. The credits distinguish Nohlab’s direction from design shared with Büşra Tunç and sound by Giray Gürkal. The architectural dialogue is the useful commissioning precedent. Which existing features should a new installation echo, and where should its added structure visibly depart from the building’s original form?
Which architectural features should be echoed, and where should the added structure depart from them?
Big Art Partners planning prompt
2019 premiere and subsequent immersive venue presentations
A short narrative designed for immersive presentation
JOURNEY follows light from photons approaching the eye to signals becoming perceived images. Nohlab lists a four-minute duration, an original commission from Culturespace Digital and a 2019 premiere at Atelier des Lumières in Paris, followed by presentations including Montréal and Amsterdam. The credits identify a team of visual and sound artists alongside Nohlab’s direction and design. For a host considering similarly concise immersive storytelling, how would entry timing and audience dwell time let visitors experience the narrative’s beginning, transformation and ending as a complete sequence?
How would entry timing and dwell time support a complete narrative sequence?
Big Art Partners planning prompt
2015 collaborative orchestral projection performance at Rudolfinum
One visual chapter within an orchestral collaboration
Nohlab created Part V: New World for the 2015 SIM/NEBULA performance at Prague’s Rudolfinum. Its contribution formed one section of a larger work developed by The Macula with the Czech Philharmonic and other international artists. Projections covered the auditorium’s front, sides and ceiling while a live orchestra performed Tchaikovsky’s Sixth Symphony. This distinction between a studio’s chapter and the complete production matters when scoping comparable work. How would visual authors, musical direction and technical production agree on transitions, timing and responsibility across the whole performance?
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