Bronze Performing Arts, Stage, Style and Scenery Design · 2026
Inspiring Formosa Generative Scenography
by Hsiaoyi Yu
- A' Design Award 2026 Bronze Winner in Performing Arts, Stage, Style and Scenery Design
- Awarded April 15, 2026
- CLIENT: Formosa Pipe Organ Society
- Estimated Number of Design Views: 6,200
- Verification code 7C5E3E2924 · Verify this award
About Inspiring Formosa Generative Scenography
Inspiring Formosa is a generative virtual scenography system for live pipe organ concerts. Instead of physical sets, the system uses an artificial intelligence engine and a 5G low latency network to translate live sound and the movements of the organist into moving visual scenery. The visuals are projection mapped onto the venue architecture and the organ pipes, and they are synchronized with the stage lighting. The method avoids any alteration of heritage concert halls and removes the need for built and transported sets.
Hsiaoyi Yu's Inspiring Formosa Generative Scenography emerges from contemporary performance design practices that dissolve traditional boundaries between architectural container, theatrical setting, musical instrument, and digital media, creating what might be understood as a total artwork or Gesamtkunstwerk for the twenty-first century where generative systems, responsive lighting, and spatial design converge in unified experiential narrative. The compositional achievement demonstrates remarkable sophistication in its integration of multiple design languages: the organic curvilinear sweep of the architectural shell that cradles the performance space in protective acoustic embrace, the rhythmic vertical articulation of wood slat surfaces that create both visual texture and sonic diffusion, the strategic deployment of warm amber and coral illumination that transforms functional architecture into glowing sculptural presence, and the carefully positioned pipe organ whose golden brass surfaces anchor the composition while establishing monumental scale reference against which the solitary performer appears in contemplative communion. The chromatic accomplishment proves particularly noteworthy in the nuanced gradation from warm peachy luminosity through burnt sienna and terra cotta mid-tones to deep plum and violet shadow zones, creating thermal gradient that moves the eye through space while establishing emotional temperature that oscillates between warmth and mystery, invitation and awe. Technical facility reveals itself in the precise calibration of lighting intensity that allows the wood surfaces to glow without losing their material presence, in the integration of digital projection that introduces soft organic imagery without competing with the architectural geometry, and in the photographic capture that preserves both highlight detail in the illuminated zones and shadow information in the darker passages. Passages of particular accomplishment include the rhythmic recession of the vertical slats as they curve away from the viewer, creating spatial depth through repetition and diminution, and the celestial pattern of circular apertures in the ceiling plane that introduce geometric counterpoint while suggesting symbolic openings to transcendent realm. These formal choices serve profoundly expressive ends, creating environment that elevates musical performance beyond mere acoustic necessity into spatial ritual where architecture, light, sound, and human gesture interweave in temporary unity. The work invites consideration of how contemporary performance spaces might function as instruments themselves, not merely containers for artistic activity but active participants that shape, amplify, and give cultural resonance to creative expression, suggesting lineages connecting to baroque theater design traditions, twentieth-century acoustic architecture innovations, and emerging practices in responsive environments and generative scenography. The projected botanical imagery hints at thematic engagement with natural forms and cultural heritage, perhaps drawing upon regional flora as symbolic vocabulary, while the overall spatial gesture creates what one might interpret as protected garden or nurturing vessel for artistic cultivation. The solitary figure at the organ suggests themes of individual artistic dedication, the intimate relationship between performer and instrument, and the human scale vulnerability within monumental architectural achievement, inviting viewers to contemplate the delicate balance between individual expression and the cultural infrastructure that preserves, celebrates, and transmits artistic traditions across generations. How does the enveloping warmth of this architectural embrace shape not only the acoustic properties of musical performance but also the psychological and spiritual dimensions of both performer and audience experience, and what might such carefully orchestrated environments reveal about the continuing human need for spaces set apart from daily life where aesthetic contemplation and sensory immersion can flourish?
Press Kit
- Unique Properties
- Inspiring Formosa is a generative scenography system for live pipe organ concerts. Unlike traditional physical stages, it utilizes an AI engine and 5G to translate live acoustics into dynamic architectural projections instantly. This zero-waste, scalable model solves the restriction of altering heritage venues. Its unique advantage lies in transforming invisible sound into immersive visual art, offering a highly marketable, sustainable touring framework for contemporary performing arts.
- Dimensions & Packaging
- As a zero-waste virtual scenography, the design possesses no physical dimensions. It utilizes a 5G low-latency multicam system for real-time capture of the organist's movements. The visual engine, powered by TouchDesigner and ITRI's generative AI, processes acoustic data and physical paintings via Gaussian Splash simulations. Outputs are projection-mapped directly onto the venue's architecture and synchronized seamlessly with stage lighting via DMX and ArtNet protocols.
- Tags
- virtual scenography, stage design, projection mapping, generative art, pipe organ concert, interactive stage, artificial intelligence, 5G technology, immersive environment, total artwork
- Production Technology
- Realized without physical sets, the virtual scenography uses TouchDesigner as the core engine, integrating generative AI, particle systems, and live video capture. A 5G low-latency multicam setup captures the organist’s hand and pedal movements, feeding data into the engine. AI models analyze live acoustics and process physical paintings via Gaussian Splash simulations. Visuals are projection-mapped onto the venue's architecture, synchronized with stage lighting via DMX and ArtNet protocols.
- Design Challenge
- Culturally, the challenge was modernizing the pipe organ without compromising its heritage. Technically, national concert halls strictly prohibit physical stage constructions. We overcame this by replacing traditional props with non-invasive projection mapping to create a virtual scenography. Furthermore, synchronizing live acoustics with AI visuals required solving severe latency issues. Integrating a 5G network ensured zero-delay rendering, unifying heritage with dynamic digital scenery.
- Project Duration
- The project development started in 2021 in Taipei, Taiwan. The first iteration premiered at the National Theater and Concert Hall in Taipei on August 9, 2024. The project was subsequently expanded and exhibited at the Weiwuying National Kaohsiung Center for the Arts in Kaohsiung on October 24, 2025, completing the twin-city curatorial framework.
- Operation Flow
- Instead of using traditional wooden sets, the stage operates as a living, interactive canvas. As the organist performs, an intelligent system listens to the live melodies and captures her movements. It instantly translates this acoustic energy into fluid, breathing light projections mapped directly onto the venue's walls and organ pipes. This real-time interaction creates a deeply immersive visual journey, offering a breathtaking, zero-waste theatrical experience that static props cannot achieve.
- Research
- This applied research aims to sustainably modernize classical performances.
The methodology translates real-time acoustics into visual syntax using an AI engine, 5G networks, and Gaussian Splash simulations.
We tested this with a live organist and audiences at two national venues.
The result is a zero-waste, scalable virtual scenography.
Insights prove this digital model revitalizes cultural heritage, eliminates physical touring waste, and offers a highly marketable theatrical experience. - Inspiration
- Inspired by the concept of "Gesamtkunstwerk" (total artwork), we sought to modernize the millennium-old pipe organ. The motivation was to decode classical heritage visually without damaging historical venues. Supported by ITRI's 5G low-latency network and Gaussian Splash AI simulations processing physical paintings, we treated the venue as a breathing instrument. This interdisciplinary research merges sound physics with algorithmic beauty, amplifying human emotion through smart technology.
- Image Credits
- Image #1: Formosa Pipe Organ Society, Inspiring Formosa, 2025.
Image #2: Formosa Pipe Organ Society, Inspiring Formosa, 2025.
Image #3: Formosa Pipe Organ Society, Inspiring Formosa, 2025.
Image #4: Formosa Pipe Organ Society, Inspiring Formosa, 2025.
Image #5: Formosa Pipe Organ Society, Inspiring Formosa, 2025. - Patents
- Copyrights belong to Formosa Pipe Organ Society, 2025.
Colors of Inspiring Formosa Generative Scenography
Design Interview about Inspiring Formosa Generative Scenography
Our inspiration stems from the classical music concept of "Gesamtkunstwerk" (total artwork) and the cross-sensory experience of "Synesthesia." We view the millennium-old classical pipe organ as the main subject of the performance and a "breathing architecture." Our core design philosophy is "integrating classical cultural heritage, live performance, and architecture, while visually translating them." Through avant-garde smart technology, we break the traditional framework of passive listening in concerts. By merging the invisible physics of soundwaves with the beauty of algorithms, we enable audiences in the concert hall not only to "hear the light and shadow" but also to "see the music."
Our main focus was "how to modernize classical performances without altering or damaging the physical structure of national-level concert halls." Our goal is to create a brand-new "cultural innovation prototype" that transforms traditional pipe organ performances into a profound, immersive, and interactive visual journey. Through this high-tech performative syntax, we hope to deeply engage contemporary "digitally native audiences," allowing classical music to seamlessly enter modern daily life through an innovative approach.
Inspiring Formosa is a highly scalable cultural performance framework. We have already launched the "Ten Halls Project" and simultaneously released digital and physical albums. Starting from the twin cities of Taipei and Kaohsiung, we plan to expand this smart technology-driven performance model to concert halls in cultural capitals worldwide. Using the pipe organ as our medium, we aspire to establish a cultural-tech masterpiece that represents Taiwan, ensuring that Taiwanese creativity continues to resonate in top-tier international venues.
The development of this project started in 2023 in Taipei, Taiwan, undergoing years of incubation and technological breakthroughs. The first iteration made its grand premiere at the National Theater and Concert Hall in Taipei in August 2024. The project was subsequently expanded and presented in an advanced performance at the National Kaohsiung Center for the Arts (Weiwuying) in October 2025, completing the twin-city curatorial framework for this futuristic prototype.
This is a self-initiated cross-disciplinary creation driven by our team's profound sense of mission to promote pipe organ art. We observed the contemporary challenges facing traditional classical concerts, and therefore collaborated with the cutting-edge research and development technology of the Industrial Technology Research Institute (ITRI) to find a completely new path for Taiwan's pipe organ culture. This is not just a concert; it is a "Taiwanese Cultural Declaration" that we are presenting to the world through technology and art.
Currently, this system is jointly held and utilized by the Formosa Pipe Organ Society and our collaborative teams. Because it is highly modular and scalable, and completely abandons heavy traditional touring props, we are very open to future partnerships—through licensing, international co-productions, or technology exports—with major national venues, arts festivals, and cross-disciplinary brands worldwide. We aim to promote this highly marketable and sustainable performance framework globally.
The pipe organ has a glorious thousand-year history, yet its development in Taiwan spans only about sixty years. The core motivation behind designing this work is the desire to ensure that classical music is no longer just "passively inherited," but perfectly integrated with Taiwan's world-leading technological prowess (such as 5G and Generative AI). We wanted to create a contemporary cultural syntax unique to Taiwan, allowing classical music to exhibit a powerful vitality capable of breathtaking modern audiences. In terms of musical narrative, alongside classic and modern European and American organ works, more importantly, we encourage and develop original Taiwanese organ compositions featuring composers like Tzu-Chin Hsu and Tyzen Hsiao. We also drew inspiration from the film scores of internationally acclaimed director Mi-Sen Wu, weaving cinematic narrative into the performance structure of the classical pipe organ.
For visual design, we were spearheaded by top Taiwanese teams: Peppercorns Interactive Media Art and SANYIN Visual Art Lab. This work is deeply inspired by the artistic paintings of Taiwan's national treasure-level painter Huei-Tung Chen and contemporary artist Hsiang-Yin Chen. Through technology, we transformed their physical paintings into dynamic visuals, allowing classic paintings and pipe organ music to intertwine across time and space.
Our target audience is highly diverse. First are the "digitally native generation" and the general public who enjoy immersive experiences; we use high-sensory audio-visual stimulation to make them fall in love with classical music again. Second are global cultural and artistic institutions, iconic concert halls, and city brand marketing teams; this performance system can provide them with a highly marketable, forward-looking technological performance solution.
Unlike traditional theatrical designs that rely on "pre-recorded videos" or "pre-programmed lighting cues," the greatest uniqueness of Inspiring Formosa lies in its "Real-time Generative" nature. Through a low-latency architecture and a multi-modal AI engine, we instantly translate the acoustic frequencies, timbre, and melodies of the live performance into magnificent architectural projection mapping. Every note triggers a new birth of light, making every performance a one-of-a-kind, unreplicable piece of co-created art.
The name "Inspiring Formosa" (島影情深) encapsulates our deep affection for Taiwan. "Inspiring" not only represents enlightenment and inspiration, but it also echoes the fact that the pipe organ is a living entity that requires "breathing" (airflow) to sound; "Formosa" represents beautiful Taiwan. The Chinese title "島影情深" symbolizes our approach: using music as the core and technology as the bridge, we portray the profound emotions and future visions of this island through light, shadow, and sound.
This is a precision system integrating hardware and software. We used TouchDesigner as the core generative visual engine, integrating a 5G NDI low-latency multi-cam real-time capture system. The computational end combined ITRI's deep-learning multi-modal AI engine with Gaussian Splash simulation technology. For output, we utilized multiple high-lumen projectors for architectural-scale projection mapping, flawlessly synchronizing stage lighting via DMX and ArtNet protocols.
The most unique aspect is "transforming the entire concert hall into a colossal interactive immersive space," much like entering a giant contemporary art museum. Without making any physical alterations or causing damage to national cultural heritage venues, we use non-invasive projection mapping to replace physical stage sets. We instantly transform invisible acoustic energy into a tangible, immersive visual space, making the audience feel as if they are sitting inside the structure of the music itself, showcasing the ultimate aesthetic of cross-disciplinary fusion.
This is a cross-disciplinary collaboration gathering top professionals. The project was initiated by Executive Producer Jeff Lin and myself (Formosa Pipe Organ Society), coordinated by ArtPure Culture & Art International Co., Ltd., and involved deep collaboration with the top scientific research team from the Industrial Technology Research Institute (ITRI). We also brought together tech-art teams such as Peppercorns Interactive Media Art and SANYIN Visual Art Lab, with Ms. Yu-Chieh Lin and Director Mi-Sen Wu serving as creative consultants. This is a collective intelligence sparked jointly by curators, performers, AI engineers, and visual artists.
In this design, technology is no longer just a "supporting tool" or "static background," but rather a "Co-creator" and "narrative protagonist." The AI system listens to and analyzes the organist's live performance, instantly generating computational visuals, while 5G technology ensures the ultimate zero-latency interaction between sound and light. Technology has endowed classical art with a completely new form of life, transforming rational algorithms into warm, emotional resonance.
Yes. We conducted in-depth "research on acoustic wave physics and algorithmic applications." Using multiple acoustic sensors, we captured the real-time frequencies, melodic contours, and timbre shifts of the pipe organ performance. This massive amount of live acoustic data was fed into an AI platform for analysis and decoding. The research team conducted rigorous acoustic field testing and on-site experiments at two national concert halls in Taipei and Kaohsiung to ensure perfect synchronization between the sound and the visually generated outputs driven by massive data computation.
The biggest challenge came from the dual pressures of culture and technology. Culturally, we had to infuse a futuristic vision without compromising the solemn historical heritage of the classical pipe organ, while navigating various venue restrictions of the concert halls. Technically, national-level concert halls offer very limited rehearsal time, which severely tested the team's integration capabilities. Furthermore, converting real-time sound into AI visuals is highly prone to severe frame latency. We ultimately overcame these technical bottlenecks by using "non-invasive virtual architectural projection mapping" instead of physical sets, and by integrating a 5G low-latency network architecture.
We hope this is more than just a fleeting spark on a single night. By participating in leading international competitions, we aim to prove to the world that Taiwan is not only a "Silicon Island of Technology" but also possesses the formidable soft power to export "top-tier cultural content," seeking opportunities to replicate this performance model globally. This work has already won numerous international honors, including the French Design Awards, iF Design Award, Global Music Awards (GMA), InterContinental Music Awards (ICMA), and MUSE Design Awards. Through recognition on the international stage, we aspire to establish a global benchmark for cultural innovation, letting the world witness the infinite possibilities of Taiwan's cross-disciplinary art.
This process profoundly taught me the immense power of "crossing boundaries." As the principal organist and curator, I learned about the infinite creative possibilities sparked by cross-disciplinary collaboration. It pushed me to step outside purely auditory thinking and integrate architectural space, visual computation, and the audience's sensory experience into a holistic "performance syntax." During the performance, I must not only manage highly complex organ techniques but also maintain acute real-time interaction with the AI visuals. This is not just a challenge of personal performance skill, but a comprehensive elevation of artistic philosophy.
I would like to add that Inspiring Formosa is not merely a concert; it is a continuously evolving "cultural-tech brand." In addition to releasing a highly collectible twin-city live audio/video physical album (2 CDs + 2 DVDs)—transforming fleeting digital art into a permanent publication—we have gone a step further to collaborate with Taiwanese enterprises such as Karihome, Orient Pharma, and Orient EuroPharma. This seamless extension allows the touching fusion of technology and classical art to fully enter the everyday lives of modern people.
Grand Interview about Inspiring Formosa Generative Scenography
As a Taiwanese pipe organist, I have dedicated much of my career to the preservation of pipe organ heritage and international cultural exchange.During the creation of Inspiring Formosa, I realized that technology could become more than a presentation tool—it could serve as a powerful medium for cultural preservation and transmission.When generative visuals, music, and architectural space began interacting in real time, I understood that we were creating more than a concert. We were developing a new model of cultural participation.Through Inspiring Formosa, the concert hall becomes a Living Museum, inviting audiences to rediscover the value of Taiwan’s culture, pipe organ heritage, and cultural assets through immersive experience.
AI is never the protagonist of Inspiring Formosa.Culture is.The project begins with Taiwan’s cultural identity, pipe organ heritage, and the preservation of cultural assets. AI simply helps us make culture more accessible and engaging.I believe technology should not replace humanity. Its greatest value lies in helping culture transcend the limits of time and generations. That is why we adopt a human-centered and culture-centered approach, ensuring that technology serves cultural sustainability rather than the other way around.
I believe that sustainability is not only environmental—it is also cultural.Inspiring Formosa integrates cultural preservation, technological innovation, and public engagement to explore how culture can be preserved, shared, and continuously reimagined in the digital age.I hope this model can be adopted by cultural institutions, cities, and corporate partners, allowing art to become a platform for cultural sustainability, social impact, and international cultural exchange.
The core of Inspiring Formosa is not merely redefining the relationship between music and space, butrethinking the role of cultural heritage in contemporary society.The pipe organ itself embodies music, architecture, craftsmanship, and collective memory. It is acultural asset in its own right.Through generative design and immersive experiences, I hope audiences can move beyond listeningto music and actively engage with culture, discovering how heritage can connect with technology,education, and society.
The greatest challenge was not technological, but cultural.Throughout the creative process, we constantly asked ourselves how innovation could coexist with cultural preservation.The pipe organ carries profound historical and cultural significance. Therefore, our goal was never to let technology dominate the experience, but to help audiences better understand and connect with cultural heritage.Ultimately, Inspiring Formosa is an exploration of cultural sustainability—using contemporary tools to reconnect historical cultural assets with modern society.
For me, visuals are not decorations for music; they are part of cultural storytelling.Through real-time generative technologies, we hope audiences can experience the relationship between music, architecture, space, and cultural memory.When music transforms into moving light and imagery, audiences are not simply watching visuals—they are experiencing culture itself.
I envision Inspiring Formosa as a global platform for cultural exchange rather than simply a touring production.Every city possesses its own cultural memory and heritage. Through the integration of art, technology, and cultural preservation, I hope to create meaningful dialogue across cultures.In the future, I look forward to collaborating with museums, cultural institutions, foundations, and corporations to develop new models of cultural sustainability and international cultural exchange, using art as a bridge between cultures.I believe cultural sustainability requires cross-sector collaboration. In the future, I look forward to working with corporations and broader society to support cultural preservation and international cultural exchange, allowing culture to become a force that connects communities and shapes the future.
The most important idea behind Inspiring Formosa is to rethink the role of culture in shaping the future.As a Taiwanese pipe organist, I believe culture is not merely something to preserve from the past—it is a force that can shape the future.By integrating Taiwanese music, Taiwanese cultural heritage, artistic creation, and digital technology, we hope to share the richness and diversity of Taiwan’s cultural identity with the world while establishing a new model of cultural sustainability—one that keeps culture meaningful, participatory, and alive for future generations while creating new value on the international stage.
I believe cultural heritage should never remain a passive backdrop.Many concert halls and historic buildings carry cultural memory, local history, and community identity.Through Inspiring Formosa, we transform the concert hall from a venue into an active participant in cultural storytelling. By integrating art and technology, architecture becomes part of the cultural experience itself.
I believe the most important elements are not AI, but people and culture.Culture defines the soul of a work, people define its direction, and technology helps us explore new possibilities.For me, the greatest value of AI is not creating content—it is helping us preserve culture, understand heritage, and make cultural assets visible to wider audiences.Technology will become an important partner in cultural sustainability, but culture itself must always remain at the center.