The imagination readily fastens onto the anthropomorphic figures like those found in shipyards, turning looming metal giants into huge toy beasts, origami cranes writ large.

Lighting designer Dean Skira takes things a step further in this public exhibition titled Lighting Giants, using nearly 100 RGB LEDs to produce an array of colorful effects at a massive scale – 16,000 different possible hues in total.

Located in a major Croatian shipyard, the show involves a shifting spectrum of illumination that ranges from pure white to wild rainbows, all directed up into the rugged frameworks of industrial monstrosities.

The installation, funded by the ministry of tourism, was in part a response to calls for the relocation of the shipping infrastructure, seen by many as an eyesore. Instead of doing away with the cranes, a part of local industry and history, this work celebrates and highlights them.

About the artist: he is a “lighting designer with over twenty years of experience in designing innovative lighting solutions for urban, landscape, commercial and residential spaces. Even in his early childhood he was fascinated by light and its sources, strongly influenced by his father’s professional work in stained glass. He promotes an architectural lighting design concept that goes beyond utilitarian where lighting can have high impact on person’s emotional states.”

For a little light reading, or dark, depending on the page: imagine all the colors of the rainbow – including those we rarely see, and minute shades in between – packed into an 8-by-8-by-8 cube you can hold in your hand, and flip through on demand.

Tauba Auerbach is an American artist  with a story to tell without words or even what we normally think of as illustrations. The result is a reference volume of a sort to designers, maps of possible choices for painters, or for some, perhaps, just a page-based piece of inspiration.

The beauty in this wordless books extends beyond the page, bleeding to the edge of each but also beyond to the airbrushed cloth covers both front and back. We are used to seeing such brilliant gradients on our computer screens, but there is simply something different about the analogous real-world experience.