Light, at Civic Scale

Bruno Poet's lighting for the Zayed National Museum opening ran on a networked multi-console system with programmers working in parallel, fixture data imported straight from the production's 3D model. Moment Factory provided projection across the Foster + Partners facade. The result read as architecture illuminated from within its own logic, not a show bolted onto a building.

Five decades of shaping light, surveyed in the Pedder Building: three Glassworks — each in its own constructed chamber — alongside holograms, prints, and the site plans and models for the Skyspaces and Roden Crater. It lands in the same season as Turrell's hundredth and largest Skyspace, a 40-meter underground dome that opened at ARoS in Aarhus in June. Final days: through August 1.

Presented with Tate, the show gathers four of McCall's walk-through installations — slowly evolving volumes of projected light, drawn in haze — with one of his early films. McCall has spent fifty years proving that a projector, a dark room, and patience are enough to make sculpture. Free admission through July 27 in Oklahoma City.

An eighteen-foot sphere of nested LED geometry at 14th Street Square, its hundreds of LEDs driven by Villareal's custom software and seeded by John Conway's Game of Life — the patterns evolve continuously and never repeat. The centerpiece of a NALA Projects activation timed to the World Cup summer, from the artist behind The Bay Lights and London's Illuminated River. Extended through September 28.

Los Angeles lighting design firm Visual Terrain traced the exercise stairs at Central Park with eighty pixel luminaires that tell the story of water — flowing, evaporating, storming down again. Led by principal designer Steven Young and programmed by Steeve Vajk, it is a permanent, city-commissioned work: public light art as park infrastructure, a short drive north of LA.

For the Hunter Pavilion at Ravinia, Wenger built two motorized pivoting acoustic walls — 7.5 tons each, with LED integrated into the structure — that reshape the room between orchestral and amplified configurations. Acoustic shells have always been furniture; these are kinetic architecture, and they suggest venues will increasingly treat transformation itself as part of the design.

For the library's centennial, LA printmaker Daniel González and paper engineer Matthew Reinhart built "Luceros y Penumbras" — roughly 31 by 20 feet open, over 11 feet tall, more than 1,800 pounds, made of the same fabric, paper, and adhesive as an ordinary book. It stands beneath Dean Cornwell's 1933 murals through November, beside gems from the library's 2,000-piece movable-book archive.