Facade survey and mesh build
The surface is measured as built, not as drawn, and modelled to it. Every reveal, setback and out-of-plumb panel that the mesh misses becomes a soft edge or a smear once there is light on it.
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3D Projection Mapping
Content mapped to real geometry, for the nights that have to be remembered.
Projected shows for openings, national days, seasonal programmes and cultural events. We survey the facade, build the 3D mesh, produce or adapt the content, rig and blend the projectors, and run the show on the night with a crew on the desk.
3D mesh
Built from a survey of the real facade
Edge-blended
Multi-projector arrays
On the desk
A crew, every show night
In more detail
Projection mapping is the one thing on this list that has a deadline nobody can move. The opening is on the twelfth; the national day is the twenty-third. Everything (the survey, the mesh, the content, the rig, the blend, the rehearsal) is scheduled backwards from a night that will happen whether the show is ready or not.
We survey the facade and build the 3D mesh from the real geometry rather than from the architect's elevation, because a building as built is never quite the building as drawn and the difference is visible from the street. Content is produced or adapted against that mesh, projectors are rigged and edge-blended for the throw distance and the ambient light the site actually has, and there is an ARAK crew on the desk on the night.
How we do it
The four things that decide the outcome
Content production and mapping
Produced with you or adapted from material you already own, then mapped so the animation moves with the architecture. A line that follows a real edge reads as the building moving; one that does not reads as a video playing on a wall.
Projector rigging and edge blending
Lumens sized against the surface reflectance and the ambient light that will actually be there, positions chosen for throw and sightlines, and overlaps blended so an array of machines reads as a single image.
Rehearsal and live operation
A full rehearsal on site at show light levels, a cue stack that can be held or dropped if the programme runs late, and an operator on the desk rather than a file left playing on a loop.
How a show is built
What it looks like
Illustrations of how a mapped show is built and how it is seen. These are not photographs of delivered work. Click any frame to see it full size.
Tell us what the space has to do.
Send drawings, a fixture schedule, or just the brief. Our Riyadh team will come back with a lighting study and a quotation.
Book a consultation