Blossoms and the Sanctuary

Living Sonic Architecture and Museum: A Generative AI Performance with Asia’s Largest Pipe Organ

This work is set in the Weiwuying Concert Hall in Taiwan, transforming the facade of Asia’s largest pipe organ into a computable and responsive lighting interface. By integrating stage lighting, architectural surfaces, and generative visual systems, light is redefined from a supporting element into a primary design medium that connects music, space, and audience perception, forming a “living sound architecture” and a “museum of light.”

The lighting design is driven by musical structure, incorporating the compositional language of Taiwanese composer Tyzen Hsiao’s Organ Prelude and White Peony, alongside visual translations of paintings by Hui-Tung Chen (Cathedral) and Hsiang-Yin Chen (White Peony). Through generative AI image expansion and super-resolution reconstruction, painterly textures and chromatic structures are learned and transformed into continuously evolving high-resolution light fields, enabling light to embody temporality and narrative.

The system operates on a real-time generative framework, with TouchDesigner as its core engine, linking audio frequency spectra, rhythmic structures, and airflow dynamics. This establishes an immediate translation from sound to lighting behavior. Through the use of Gaussian Splatting, sonic energy is converted into particle-based and fluid-like luminous formations that generate, accumulate, and diffuse across both the architectural façade and stage environment, forming a volumetric and dynamic lighting space.

With low-latency transmission and synchronized computation, performance, sound, and lighting are unified into a co-constituted system. Architecture, instrument, and stage merge into a single perceptual field. This approach redefines the role of stage lighting, elevating light into a generative, spatial, and narrative design entity, and proposes an innovative model for the integration of contemporary lighting design and interdisciplinary art.