Nohlab’s immersive experience EVERYTHING, observes everything as it is, questions all this existence and suggests new possibilities in three parts. EVERYTHING was on exhibition at Atelier des Lumières & Bassin des Lumières in 2021.

I designed and animated a few minutes of the experience and also led the techical aspect of this whole challenging project from the start to end from creating working templates to delivering the gigantic video files to media servers.

Through the eyes of a candid narrator, who follows the storyline in sync with us, visuals & sound follow a narrative where science, philosophy and metaphysics converge. We observe elements that construct what we call our lives and ways of ascribing meanings to things. This way we can grasp how the vast system of existence enveloping us is prone to many questions.
Shouldn’t we yet start pondering upon what already is? Can we really perceive all there is with our limited senses? Are we at the very end of evolution? Could the system of life we built be not only 0’s or 1’s? Are we held back and entrapped by systems we created? Do we really have free will? Maybe this is only a contingency which our subconscious and evolutionary process carried us to.
Shouldn’t we extend the limits of our awareness yet? What then, could we become? Embracing how much we don’t know might lead us to accept becoming in a constant state of transformation and probabilities. With numerous layers we can neither perceive nor think about with our limited capabilities, there’s still a lot to discover and be fascinated about.

Role: Art Direction, Motion Design, Technical Content Direction
Commissioned by: Culturespace Digital
Studio: NOHLAB

Premiere: Atelier des Lumières | Paris, FRANCE 2021-22
Bassin des Lumières | Bordeaux, FRANCE 2021-22
Exhibitions: Royal Dublin Society | Dublin, IRELAND 2022
Noor Riyadh Light Art Festival | Riyadh, KSA 2022
Milan Art Week & Milan Design Week / Meet Digital Culture Center | Milan, ITALY 2023
Signal Space | Prague, Czechia 2025 

Direction, Design, Concept: NOHLAB
Visual Artists: Tiber Ergür, Alexandre Le Guillou, Fehmican Gözüm, VOID
Sound Artists: Gökalp Kanatsız, Ilgın İçözü
Narrator: Jeanne Barbieri (FR), Melissa Lara Clissold (EN)
Script: Prof. Ebru Yetişkin, NOHLAB, u29dc, Erkan Esenoğlu
Conceptual Research: Prof. Ebru Yetişkin, Candaş Şişman (NOHLAB)
Technical Content Direction: Fehmican Gözüm
Photographers: Roberto Conte, Camille McOuat, Jonathan Mascaro
Videographer: Jonathan Mascaro
Video Editor: Teoman Küçükeren

Everything consists of three parts — What Is?, What If?, and What Else?
My contribution was to the second section:

WHAT IF?
“Can you sense the frequencies that connect everything? Can my limited perception represent the reality? What if the world changes when I change the ways I see the world? What if I want to break this fabricated reality? What if I don't limit my understanding within binaries. Evolution will continue, perhaps regardless of humans. The question is: How do I contribute to the evolutionary process? How can free will be possible?”

This section begins with the concept of quantum mechanics and the duality of particle states. I approached it by visually interpreting the energy fields of subatomic particles, depicting both their wave and particle forms to explore how perception defines the existence of matter itself.
The sequence culminates in the DNA formation, where these particles converge into structured order — expressing the transformation from pure energy to organized life. Through this progression, I aimed to visualize the shift from abstraction to creation, mirroring the continuous evolution that defines existence itself. The visuals then evolve into a representation of infinite possibilities — points expanding outward from a single origin, symbolizing alternate states and potential realities that emerge from one shared beginning.

I made the technical content direction for Everything which was comissioned to be presented simultaneously across three venues — the main hall for the 2 minute teaser and studio of Atelier des Lumières in Paris, and the Atelier space at Bassins des Lumières in Bordeaux. Each location had completely different projection geometries, scales, and resolutions, from the expansive multi-surface architecture of Paris’ main hall to the more compact box-shaped studios used for contemporary works. This diversity required an adaptable system that could maintain creative consistency while handling unique technical conditions in each space.

To solve this, I designed a unified content system that linked the creative tools directly to the projection environments. We built a real-time simulation pipeline inside After Effects that allowed motion designers and directors to preview the work across all three venues simultaneously, using the exact geometry, warping, and blending data from each site. This meant that every layer of animation could be viewed as it would appear in real life — mapped precisely onto walls, floors, and architectural details. Directors could explore the full immersive environment during production, make immediate creative decisions, and communicate changes clearly to the design team without waiting for rendered previews.

The same system also generated simulation files for client presentations, allowing us to deliver accurate previews of the final immersive experience long before the installation phase. These simulation outputs matched the projection environment with remarkable precision — when the content was finally installed on-site, it looked exactly as it did in our virtual previews. This eliminated guesswork, minimized adjustments during setup, and made the delivery process exceptionally efficient.

By creating this adaptive and simulation-driven workflow, we transformed a technically demanding, multi-venue production into a smooth, scalable process. The directors gained full visual control throughout development, the designers worked faster with immediate spatial feedback, and the clients could experience the project’s impact well before installation. The system not only ensured visual accuracy and efficiency but also made the work easily adaptable for future immersive environments around the world.

Here are examples of the real photos taken from the performances versus the simulation samples from After Effects we did during the production process before any rehersals.