“Phygital” refers to the convergence of the physical and digital realms. Phygital space represents a growing phenomenon made possible by the increased sophistication and proliferation of electronic technologies in the designed environment. This trend is exemplified by immersive art, in which simple gallery spaces are transformed into alternative worlds via seamless projection capabilities. Music performances, conferences, and other live events are likewise becoming more phygital. According to futurist Mark van Rijmenam, “Phygital events are the future of business conferences, expos, concerts,” and other gatherings due to digital technologies' inherent adaptability and extensibility.
And this is just the beginning. The increased use of immersive digital projection in everyday public and commercial spaces suggests that phygital experiences will become commonplace. As a result, architecture will increasingly become a hybrid of analog and digital infrastructure. The challenges and opportunities of design—to fulfill functional needs and shape human experience—will be borne by both the physical and virtual dimensions. This mutual responsibility invites further speculation about the qualitative aspects of digitally enhanced environments, including the capacity to communicate, generate ambiance, and create memorable experiences.
A leading figure in this new realm of practice is Olivia Sebesky, a multimedia designer, art director, and projection expert who works in cinema, theater, concerts, and art installations. Sebesky’s resume includes an impressive list of collaborators and clients, including performers Melissa Etheridge, Aerosmith, Carrie Underwood, and James Taylor—and corporations Nike, Peloton, Bloomberg, Universal Studios, and Fordham University. Her award-winning career is a testament to her ability to move audiences and transform in-person experiences—and increasingly, her work focuses on shaping everyday environments. In the following interview, Sebesky shares her passion for this work and discusses its implications for architecture.
How did you get your start in this industry?
I’ve always had a passion for fine art, music, and theater. It wasn’t until I studied fine art in college that I realized I could apply all of these interests to a career in entertainment design. I started an assistantship with one of my professors, which gave me a foundation in theatrical set design. In my free time as a college student, I was building scale models and honing my drafting skills—I loved it! One particular production we were working on, “A Night With Janis Joplin” which was also incorporating projection design. I sat behind the projection designer throughout the entire week of tech asking questions and recognizing animation software I was learning in school. By the time I left that job, I was already hired to work with him in NYC a month later. What attracted me most to digital media and projection design was the ability to essentially paint with broad strokes on a large scale.
What excites you most about this work? Can you offer some specific examples from your favorite projects?
I love that I can continue to experiment with composition in a medium that is both adaptive and seemingly infinite in its possibilities. No two jobs are the same, so I find myself equally challenged and inspired to build these bespoke visual worlds. I focus strongly on giving the audience something that they’ve yet to experience: complete immersion into the performer’s song or vision. When Melissa Etheridge is speaking about her childhood on the Broadway stage, the audience is sitting in her front yard as if they were there. The same with James Taylor, sitting in a Berkshires forest as he sings “Sweet Baby James.” When Darius Rucker sings “Let Her Cry,” the audience is hanging out in the parking lot of a Waffle House as it’s raining down. I want to be known for creating moments where audience members walk away from a show saying, “I could’ve sworn I was there with them in that moment!”
Technology-wise, how has projection design changed recently? What new capabilities are possible for the first time?
The most notable change is the development of real-time software. One of the most challenging aspects of my work is that the stages are massive. In turn, this means the animations I create are also massive. Huge animation files like this take a long time to render, and when you’re working on a tight turnaround to get to opening night, this can often create a stressful bottleneck. The development of real-time software has allowed us to begin creating in a way that allows for flexibility and speed. We can bring the program into the space and experiment with changes before committing to a render. Right now, I am developing a sequence using Unreal Engine where the camera POV rides down a road and through an entire countryside over the course of a song. Working in this program, as opposed to other software, allows us to come into the room with the project and make changes to speed/scale, examining how the road will look from all angles of the arena. We can actually move the camera around the virtual environment in real-time to explore what will look best.
Immersive art has rapidly grown in popularity. Why do you think audiences respond so well to this experiential art form?
I think the most magical thing an artist can do is transport a person into a different world, even momentarily. I believe this can happen with any art form, whether it be a painting, movie, or book. When you wrap the audience in a 180 or 360 digital space, the potential for this effect is magnified. If it’s done right, an immersive experience can force us to exist in this one moment. In a world where everyone is multitasking at all times, we’re providing unique experiences for audiences.
One of my favorite projects to date is the permanent installation I created for the Fairgrounds Art Museum in 2021. The piece is both immersive and interactive. I animated and digitally painted a scene of the Everglades that changes over time from day to sunset to night over 10 minutes. At any time, a visitor can enter the room and choose to play a game, and if you win, the entire room turns into a thunder and lightning storm.
How can aspects of projection design for temporary events translate to more permanent architectural installations? What technological infrastructure is required for long-term, day-to-day applications?
I’ve worked on a bunch of permanent installs for corporate spaces. The aim has often been to create a particular mood in that room. I love a prompt as loose as this, where I am able to propose the imagery based on a mood as opposed to an already preconceived concept. There are so many different ways to evoke a mood, whether through color, imagery, or season.
I recently worked on a corporate space—a 360 LED immersive room in a brand new office—where the client hoped for it to be a flexible, immersive space that could adapt to several different vibes. I’m really proud of what I built on this. Ultimately, I created 6 different long-form looping environments that could be used as a serene meditation space, an upbeat party, a lecture hall, etc. Once we hand off a project to a client, the day-to-day application is extremely user-friendly. It’s as simple as turning it all on and choosing which scene you want.
The “phygital” convergence of atoms and bits suggests fascinating possibilities. As digital information continues to blur with the physical world, what building or space types would benefit most from permanent projection design installations? Does your work with Nike, Bloomberg, and other clients suggest the beginning of this shift from the stage to everyday spaces?
Nike is actually one brand that has been doing this for a long time. I’ve worked with them in so many different capacities over the years in both popup events and permanent installs. For example, in the flagship in Soho, they framed the entire escalator with LED screens. I built all of the LED animations for that escalator that still play today. Not only does this add energy and vibrancy to the store the minute you walk in, it also draws the eye up to the second floor. Now more than ever, we are seeking spaces that allow for community gathering, and I think large retail spaces could do so much with media installation - not only in a way that would enhance the consumer experience, but also as a way to draw in more customers. While companies often immediately turn to quick flashy imagery, the same level of impact could be achieved with something simple and still. Think about how much impact a mural makes on a city block. If you map projection to huge retail walls, you essentially give the brand the tools to cycle through a new mural every day. Furthermore, think about how much digital art is being created right now. How amazing would it be if brands gave young artists an opportunity to display their work on a huge scale?
What future do you foresee for projection design, and how might architects and designers help create phygital environments that elevate user experiences?
Projection design, both complex and simple, will continue to grow as a part of the spaces in which we live. From concert halls and art installations to business and retail spaces, the opportunities to bring experiential art to people are going to be out there. The exciting part is that we have softwares and technologies that are keeping up and even leading the pace of this change. We as artists and designers just need to keep learning and adapting.
The views and conclusions from this author are not necessarily those of ARCHITECT magazine.
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