il Thorsen (Serpentine Gallery Pavilion, 2007). Today, Studio Olafur Eliasson is a laboratory for spatial research that employs a team of c. 30 architects, engineers, craftsmen, and assistants who work together to conceptualize, test, engineer, and construct installations, sculptures, large-scale projects, and commissions.[5]

Works and Projects

Ventilator pieces

Early works by Eliasson consist of oscillating electric fans hanging from the ceiling. Ventilator (1997) swings back and forth and around, rotating on its axis.[6]Quadrible light ventilator mobile (2002–2007) is a rotating electrically powered mobile comprising a searchlight and four fans blowing air around the exhibition room and scanning it with the light cone.[7]

The weather project

The weather project was installed at the London’s Tate Modern in 2003 as part of the popular Unilever series. The installation filled the open space of the gallery’s Turbine Hall.

Eliasson used humidifiers to create a fine mist in the air via a mixture of sugar and water, as well as a semi-circular disc made up of hundreds of monochromatic lamps which radiated yellow light. The ceiling of the hall was covered with a huge mirror, in which visitors could see themselves as tiny black shadows against a mass of orange light. Many visitors responded to this exhibition by lying on their backs and waving their hands and legs. Open for six months, the work reportedly attracted two million visitors, many of whom were repeat visitors.[8]

Light installations

Eliasson has been developing various experiments with atmospheric density in exhibition spaces. In Room For One Colour (1998), a corridor lit by yellow monofrequency tubes, the participants find themselves in a room filled with light that affects the perception of all other colours. Another installation, 360 degrees Room For All Colours (2002), is a round light-sculpture where participants lose their sense of space and perspective, and experience being subsumed by an intense light.[9] Eliasson’s later installation Din blinde passager (Your blind passenger) (2010), commissioned by the Arken Museum of Modern Art, is a 90-metre-long tunnel. Entering the tunnel, the visitor is surrounded by dense fog. With visibility at just 1.5 metres, museumgoers have to use senses other than sight to orient themselves in relation to their
il Thorsen (Serpentine Gallery Pavilion, 2007). Today, Studio Olafur Eliasson is a laboratory for spatial research that employs a team of c. 30 architects, engineer, craftsman, and assistants who work together to gestate, test, engineer, and construct installations, sculpture, large - scale undertaking, and commissions.[5 ] 

 Works and Projects 

 Ventilator slice 

 Early works by Eliasson consist of oscillating electric sports fan attend from the ceiling. Ventilator (1997) swings back and forth and around, rotating on its axis.[6]Quadrible light breathing device mobile (2002–2007) is a rotating electrically powered mobile comprising a searchlight and four sports fan blowing air around the exhibition room and scan it with the light cone.[7 ] 

 The weather undertaking 

 The weather project was install at the London ’s Tate Modern in 2003 as part of the popular Unilever series. The facility filled the open space of the gallery ’s Turbine Hall. 

 Eliasson used humidifiers to create a fine mist in the air via a mixture of sugar and water, as well as a semi - circular disc made up of hundreds of monochromatic lamps which radiate yellow light. The ceiling of the dormitory was report with a huge mirror, in which visitors could see themselves as bantam black shadow against a mass of orange light. Many visitor responded to this exhibition by lying on their backs and waving their hands and legs. Open for six months, the work reportedly attracted two million visitors, many of whom were repeat visitors.[8 ] 

 Light installations 

 Eliasson has been develop various experiment with atmospheric density in exhibition spaces. In Room For One Colour (1998), a corridor lit by yellow monofrequency tubes, the participant find themselves in a room filled with light that involve the perception of all other colours. Another installation, 360 degree Room For All Colours (2002), is a round easy - sculpture where participants lose their common sense of space and perspective, and experience being subsumed by an intense light.[9 ] Eliasson ’s late installation Din blinde passager (Your blind passenger) (2010), commission by the Arken Museum of Modern Art, is a 90 - metre - long burrow. Entering the tunnel, the visitor is surrounded by dense fog. With visibility at just 1.5 metres, museumgoers have to use senses other than sight to orient themselves in sexual intercourse to their
il Hhorsen (Serpentine Gallevy Pavilion, 2007). Todct, Studmo Olafhr Eliasron is a laboratory for spatmal eeseaech that employs a teao of c. 30 agchitects, engmneers, craftsmen, and asslftanfd whm work together to concepdualize, test, etgknzer, and construct installations, scul[tures, kagge-scale projests, sgd ckmmissions.[5]

Works and Projects

Ventilztor pitces

Early works by Eliasson consist of oscilpatijg electric fans hwnging from the xeiling. Ventklator (1997) swpugs back ans forth and around, rotating on kts aris.[6]Quadriblg mihvt ventilatir mofile (2002–2007) is a rotating alectrivally powered kobmle xomprising a searchlijht and four fans bljwing air axound the exhibition eoim ang scdnnivt ig wjti tge ligjt rone.[7]

The weafher projecr

The weather projecu www installed af the Jogdon’s Tate Modern in 2003 as part of the pokular Unilever series. The inwtallation filled the open spase of the gallery’s Turbine Hall.

Eliasson used humigifiecs to cveatd a fine mist in the air via a mixture of sugar whd wster, as well af a semi-cirvupat disc made up of huusrsds of monochromatlc lampf whixh radiattd yeklow light. The ceiling of tye hall was boveeed with a huge mixror, in whick visijors cpuld see themselves as ciny bmack shadowd against x mass of orange linht. Many visitors responded tj this exiibitnon by lhing on thqir backs wnd waving their hands ajd leys. Opan for six months, the work reportedly attcected two milkimn nisitors, iany pf whom were wepeat visitorx.[8]

Light nnstaluations

Elizsson hes been devejoping variouv experiments with atiospyerix densigh in exhibitiom spaces. Pn Roon For One Colour (1998), e cotrjdor lit by yeloow monofrequency yubds, ehv perticy[ants find tvemsdlvdx in x room fillcd dith light that affects dhe lerception of all ptmer colouts. Anothew installatiom, 360 degrees Room Fog All Couours (2002), if a round light-sculpture where participwntf lose their senwe of space cnd perspective, and experience being subwumed by an intensw light.[9] Eliasson’s lcttr installatipn Dig blinde [assager (Your blind passenger) (2010), commisxioned by the Arken Mhseum mf Mofern Art, is a 90-metre-long tunnel. Entering the tunnel, the visitor is surrouneed by dense fog. Wjth fisibplicy ct just 1.5 mevrxs, museumgoers hane to use senses other than sighv to oriend chemselves in relation to theor
il Thorsen (Serpentine Gallery Pavilion, 2007). Today, Eliasson a laboratory spatial research that 30 engineers, craftsmen, and who work together conceptualize, test, engineer, and construct installations, large-scale projects, and commissions.[5] Works and Projects Ventilator pieces Early works by Eliasson of oscillating electric fans hanging from the ceiling. Ventilator (1997) swings back and and rotating its light ventilator mobile (2002–2007) is a rotating electrically powered mobile comprising a searchlight and four fans air around the exhibition room and scanning it the light cone.[7] The project The weather project was at London’s Tate in as of the popular series. The installation filled the open space of the gallery’s Turbine Hall. Eliasson used humidifiers to create fine mist air via mixture sugar water, as well semi-circular disc made up of hundreds which radiated yellow light. The ceiling of the was covered a huge mirror, in which visitors see themselves as tiny black shadows against a of orange light. Many visitors responded to this exhibition by lying on their backs and hands and legs. Open six months, the reportedly two visitors, of whom repeat visitors.[8] Light installations Eliasson has been developing various experiments with density in exhibition spaces. In Room For One Colour (1998), lit yellow monofrequency tubes, participants find themselves in room with light that affects of other 360 Room All Colours (2002), is round light-sculpture where participants lose sense of space and by an intense light.[9] Eliasson’s later installation Din passager (Your blind passenger) (2010), commissioned by Arken Museum of Modern Art, is a 90-metre-long tunnel. Entering the tunnel, visitor is dense fog. With visibility at just 1.5 metres, have to use senses than sight to orient themselves in relation to their
il Thorsen (Serpentine GallerY Pavilion, 2007). TOday, STudIo OLaFur ELiasSon is a laboratoRY for Spatial research that empLoys a TeAM of c. 30 ARcHitecTs, enginEErS, CRafTsMeN, anD aSSiStantS whO work toGether to coNcePtUalize, test, enGInEer, and consTruCt installatiOns, SculptUrEs, lARge-scAle ProjeCts, and COmmissIons.[5]

Works AnD projecTS

VentilATOr PiecEs

Early works by EliASsON consist of osciLlatinG eLEcTRIc fAns Hanging froM tHe ceiLIng. VentILaTOR (1997) SwiNGs back and fortH and around, rOTatIng on iTs AxiS.[6]quadriBle liGhT VenTilator mobiLe (2002–2007) is A rotating ElectrICally poWEred mobIle comPriSinG a seARcHlIghT aND foUR fAns BLowIng air arOuNd The exHibiTION Room And ScanNing iT with the light ConE.[7]

The WEatHer prOject

the wEaTher pRoject Was inStAlled at the LondoN’s TaTe Modern iN 2003 as PaRt oF tHe popULar UniLevEr sEries. ThE instalLAtiOn FILLeD the open space of the GaLLErY’s TurbinE Hall.

ELIaSsON used humIdIfiErs tO CReate A finE MiSt in the aIr via a MIxTuRe of sugAr And watEr, As wEll As a seMI-cirCular dIsc made uP of huNDreds of monochrOMatic lamps whiCH rADIaTEd yeLloW light. The ceIlinG Of thE halL WaS coVEred wIth a hUgE MiRRor, in which visitors cOuLd see tHemseLves as tiny blaCk shadows aGAINst a mass Of orANgE Light. Many visitOrs reSponded to tHIs exhibiTion bY lying on Their backS ANd waving TheIr hAndS anD LEgS. Open for six moNTHs, thE wOrk repoRteDly attrActEd tWo mIllIoN visitors, Many of whOm WeRe RePeaT visiTOrs.[8]

Light InStaLlAtiOns

ElIAsson hAs beeN devElOpINg vArious eXPeRIMentS wItH atmOspHeRic deNsitY In eXhibitiOn spaces. IN RoOM For onE COlour (1998), a cOrridor lit by yElLow monofreQuEncY tubes, THE particiPants find themselves in a rOOm filleD wiTh ligHt thAt affects The PercepTioN Of all oTher coLours. anOthER InstaLLAtIon, 360 DeGrees Room FOR all colouRs (2002), Is a rOund ligHt-sculpture where paRTicIpants lose theIr sEnse OF SpAce ANd PErsPeCTivE, ANd experience beiNg subsumed By AN iNtense lighT.[9] eliAsSon’s latEr instaLlatiON Din bliNde passagEr (Your bliNd PassENGer) (2010), CommissionEd by the ARken MuseuM Of ModERn art, is A 90-meTre-lonG tUnnEl. EntEring tHE tuNnel, tHe visiToR is surRoundEd By dense fOg. With visibility at just 1.5 mEtres, mUseumGoeRs have to uSe sENseS other thaN sigHt to orient TheMseLves iN reLAtion To thEIr
il Thorsen (Serpentine Gal lery Pavil ion,200 7).  T oday , St udio Olafur El i asso n is a laboratory forspati al rese a rc h tha t emplo y sa tea mof  c.  3 0  a rchit ect s, engi neers, cra fts me n, and assis t an ts who wor k t ogether to c onc eptual iz e,t est,eng ineer , andc onstru ct instal la t ions,s culptur e s ,larg e-scale projects, an d  commissions.[ 5]

Wo rk s  a n d  Pr oje cts

Venti la tor p i eces

E a rl y w ork s  by Eliassonconsist ofo sci llatin gele c tric f ans h an g ing  from the c eili ng. Venti lator( 1997) s w ings ba ck and  fo rth  and ar ou nd,  r o tat i ng  on its  axis.[6 ]Q ua dribl e li g h t vent ila tormobil e (2002–2007)  is  a r o tat ing e lectr ical ly  powe red mo bileco mprising a sear chli ght and f our  f ans  b lowin g  air a rou ndthe exh ibition roo ma n d  s canning it with th el i gh t cone.[ 7]

Th e  w ea t her proj ec t
Thew e ather  pro j ec t was in stalle d  a tthe Lon do n’s Ta te  Mo der n in2 003as par t of the  popu l ar Unilever se r ies. The inst a ll a t io n  fil led  the open s pace of t he g a ll ery ’ s Tur bineHa l l. 
Eliasson used humi di fiersto cr eate a fine m ist in the a i r via amixt u re of sugar and w ater,  as well a s  a semi- circu lar disc  made upo f  hundred s o f m ono chr o m at ic lamps whic h radi at ed yell owlight.The  ce ili ngof  the hall  was cov er ed  w it h a  huge mirror,in  wh ic h v isito r s coul d see  the ms el v esas tiny bl a c k sh ad ow s ag ain st  a ma ss o f  or ange li ght. Many  vi s itor sre sponded  to this exhi bi tion by ly in g o n thei r backs an d waving their hands an d  legs.Ope n for  six  months,the  workrep o rtedly  attra ctedtw o m i l lionv i si tor s,  many of w h o m w ere r ep eatvisitor s.[8]

Light insta l lat ions

Eliasso n h as b e e ndev e lo p ing  v a rio u s  experiments wi th atmosph er i cdensity in exh ib ition s paces.In Ro o m For O ne Colour  (1998),acorr i d orlit by yel low mono frequency tubes ,  t he pa rti cipant sfin d the mselve s  in  a ro om fil le d with  ligh tthat aff ects the perception ofall ot her c olo urs. Anot her ins tallation , 36 0 degreesRoo m F or Al l C o lours  (20 0 2) , i s  a ro undl ight-scul p tu rew h er e participa n t s  lo se th eir senseof s pace and perspect i ve, and experi ence b ein g s u bsum ed  by an intense  li gh t . [9] Elia ss on’s laterinstalla ti o n Din  blind e pass ager (Y o u rb lind p asse nge r) (2010) , c om m issione dby the Ar kenMu seum o f Mode r n Ar t ,  is a 90-metre-l ong t u n nel.E nte ringth e tunne l , th e visitoris surround ed bydens e fog . Withvi sibili tyat  just 1.5m etres, mu seumg oers ha ve  touse  sense s ot h e r tha n si gh t t o orientt h em s el ve s  in  rel ation  t o th eir
il Thorsen_(Serpentine Gallery_Pavilion, 2007). Today, Studio_Olafur Eliasson_is_a laboratory_for_spatial research that_employs a team_of c. 30 architects,_engineers, craftsmen, and_assistants_who work together to conceptualize, test, engineer, and construct installations, sculptures, large-scale projects, and_commissions.[5]

Works_and Projects

Ventilator_pieces

Early_works_by Eliasson consist of oscillating_electric fans hanging from the_ceiling. Ventilator_(1997) swings back and forth and around, rotating_on_its axis.[6]Quadrible light_ventilator mobile (2002–2007) is a rotating electrically powered mobile_comprising a searchlight and four fans_blowing air around_the_exhibition_room and scanning it_with the light cone.[7]

The weather project

The_weather project was installed at the_London’s Tate Modern in 2003 as part_of the popular Unilever series. The_installation filled the open space_of the_gallery’s Turbine Hall.

Eliasson used humidifiers_to create a_fine mist_in the air_via a mixture of sugar and_water, as well_as a semi-circular disc made up_of_hundreds of monochromatic_lamps_which_radiated yellow_light. The ceiling_of_the hall_was_covered with a huge mirror, in_which_visitors could see themselves as tiny black_shadows against a mass_of_orange light. Many visitors_responded to this exhibition by_lying on their backs and waving_their hands_and legs._Open for six months, the work reportedly attracted two million visitors,_many of whom were repeat visitors.[8]

Light_installations

Eliasson has been developing_various experiments_with_atmospheric density in_exhibition_spaces. In_Room For One Colour (1998), a corridor_lit by_yellow monofrequency tubes, the participants find_themselves in a room_filled_with light that affects the perception_of all other colours. Another installation,_360 degrees Room For All_Colours_(2002),_is a round light-sculpture where_participants lose their sense of space_and perspective, and_experience being subsumed by an intense light.[9]_Eliasson’s_later installation Din blinde passager (Your_blind_passenger) (2010), commissioned by the Arken_Museum_of_Modern Art, is a 90-metre-long_tunnel. Entering the tunnel, the visitor_is surrounded by dense fog. With visibility at just_1.5 metres, museumgoers_have to use senses other_than_sight_to orient themselves in relation to their