Futurium Noosphere


Berlin, DE  2019

Futurium Noosphere is a spherical structure embedded with artificial intelligence. High-powered lights pulse and shimmer while densely gathered fronds shiver. Arrays of high-fidelity, omnidirectional speakers produce a collection of individual sounds that together rise to intense crescendos and soften to gentle whispers. When viewers wave and gesture, dozens of miniature computers answer with intricate patterns of light, sound, and motion. The double-shell sphere structure demonstrates how architecture could be built in the future, using lightweight metal lattices. The embedded multi-channel acoustic soundscape was developed with the Amsterdam-based 4DSOUND, led by artist Salvador Breed and engineer Poul Holleman. 

Futurium Noosphere derives from the Greek word ‘Noos’ meaning ‘knowing.’ The title refers to life on Earth as a vast organism with a thinking skin. The term noosphere was coined by the theologian and geologist Teilhard de Chardin, offering an optimistic vision where the Earth could evolve as a whole organism. In the next stage of evolution, the noosphere could transform the earth with a collective consciousness, and even mutual sympathy and empathy.

Located in Berlin’s city center, Futurium gGmbH is a cultural hub for visions made possible using science and technology. The building includes works by artists and scientists working in bio-design, artificial intelligence, and architecture. The LASG was selected to present Futurium Noosphere as a prototype that suggests how new kinds of relationships between buildings and visitors could emerge. 

The installation is on view until 2021.

Production (Toronto)

Janine Ramlochan
Ronhak Gandhi
Lily Chen
Lesi Yang
Miranda Shou
Emily Green
Natasha Jorge- Moore
Ana Moore
Julia LeClaire
Neekta Torabian
Maya Skarzenski-Smith
Krista Barleta
Syeda Anoushaer Rizvi
May Chan

Production (Berlin)

Lucas Hubrig-Jovanovic
Amy Ball
Eva Edmund
Mark Walker
Pawel Unger
Peter Strickman

Funding: Social Sciences and Humanities Research Council of Canada, University of Waterloo, Canada Council for the Arts. This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 824160.

  • Social Sciences and Humanities Research Council of Canada
  • University of Waterloo
  • Canada Council for the Arts
  • European Union