In Transit Blog: In Seattle, Public Art With an Interactive Twist

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A finished piece of architecture is typically thought to be immutable, and the same is true of an artwork, an object fixed to its particular moment of creation; or, in the case of video, repeating itself.

On Sunday,  however, when Doug Aitken's new permanent installation, "Mirror," illuminates the façade of the Seattle Art Museum, it will feature a video work that is always changing in response to its surroundings —  from Seattle's downtown to its notoriously fickle weather.

The installation, on an immense glass-covered screen wrapped around the museum's corner entrance, will feature  pre-shot footage from downtown, from Seattle's outskirts of Seattle and from the greater area's mountains and ocean, Mr. Aitken said. "I tried to film the landscape, surfaces, textures, really whatever I found," he said.

Programmed so that its imagery appears in a seemingly endless stream of variations, "Mirror" has been equipped with sensors that respond to weather and light conditions.

The work is also composed of columns in which light will shoot up and down, a feature that Kim Rorschach, the museum's director, said would animate structural elements of the building, designed by Allied Works Architecture.

Unlike his installation "Black Mirror," a 2011 work that addressed the itinerant existence of a lonely character played by the actress Chloe Sevigny, "Mirror" is devoid of human characters. "It's really about letting the footage come to life and reflect a psychological landscape, Mr. Aitken said.

"It may be that during a windstorm, the building becomes totally abstract, with lines of light moving across the surface," Mr. Aitken said. "And there may be other times when there aren't many people around, and the building will become one single, very slow-moving shot of a mountain range."

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