![]() ![]() The crossover’s Lincoln Co-Pilot360™ technology in particular informed the approach of SOFTlab’s designers. ![]() It’s this very quality that made The Nautilus’s namesake, the 2019 Lincoln Nautilus, a solid creative foundation for SOFTlab’s art installation. “Everything that we do at Lincoln, we try to do from a human perspective,” says Lucas. “… doing things that are memorable, that enhance and complement society, no matter what the art form is.” One of the core brand and design tenets at Lincoln is “human.” It’s an approach that frames all aspects of its automotive design, and inspired Lincoln to commission a welcoming public piece of art. “Artwork of course needs to stimulate and cultivate the society in which we live, but our vehicles also do a very similar thing,” explains Earl Lucas, the chief exterior designer at Lincoln. This shared sensibility is partly why Lincoln and Atlantic Re:think chose SOFTlab to create The Nautilus. Throughout their artistic processes, from research and prototyping to fabrication, both SOFTlab and Lincoln designers consider how individuals will experience their creations-in short, how their work will come alive in the user’s control. The success of both SOFTlab’s art and Lincoln vehicles hinges on their respective designers tapping into that knowledge of human behavior. Inventive ideas for interactive artworks are well and good, but their execution relies on ease of use one must understand how people move through space and relate to the world around them in order to meaningfully engage the public (appropriately, all of SOFTlab’s designers are, to some degree, schooled in architecture). “I think the engagement from the public is better when they come up with their own outcomes,” he says, observing that in his view, this kind of open-ended interactive art often results in a more resonant and memorable experience than people have with traditional art. Szivos embraces the unanticipated results that come with giving the public that agency. The installation also relies on human activation and transforms passive viewers into active participants. The Nautilus’s approachable context-which creates the possibility of happening upon the work and unexpectedly engaging with art in daily life-is only one way in which the installation subverts art-viewing preconceptions. “Museums are great, but our work that’s in the public realm is not in a white box, so it’s not framed, in a way,” says Szivos. Like its predecessors, it exists beyond traditional institutional barriers such as museum entry fees or a gallery’s hermetic white walls. The Nautilus-named after its point of inspiration, the 2019 Nautilus crossover-joins New York City’s storied history of public art. ![]()
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