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Michael Hayden (born January 15, 1943 in Vancouver) is a Canadian artist who is noted for his artworks incorporating neon lighting.[2][3][4] His best-known commission is Sky's the Limit (1987) at O'Hare International Airport (see photograph).[1][5] Other prominent commissions include Arc en Ciel (1978),[6] which was formerly installed at Yorkdale subway station in Toronto, York Electric Murals at York University Libraries,[7][8] and Quadrille (1996),[9] which is installed on a building in Charlotte, North Carolina.

Hayden's work is in the public collections of many museums, including the Smithsonian Institution, Washington, DC, the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, the Art Gallery of Ontario, Toronto, and the Van Abbemuseum, Eindhoven, the Netherlands.[2]

United Airlines
1987
Chicago, IL United States
Artwork Budget: $1,200,000
Project Team
ARTIST
Michael Hayden
[ contact info ]
ARCHITECT
Helmut Jahn
Murphy/Jahn Architects
INDUSTRY RESOURCE
Wm. Kraft Music Composer
Badges

Overview
SKYS THE LIMIT ($1,200,000), installed 1987, at Chicago’s O’Hare Airport, that envelopes passengers en route between United Airline's, Concourses B & C. 744’L x 40’W x 14’H, with thousands of linear feet of ‘neon’ elements, bristling from 23,600 sq. ft. of mirror ceiling causing the Passageway to appear 28 feet high plus duplicating every “neon” shape - all controlled by 3 solid state computers: each having ~ 40 hours of different ‘display of data’ clocks. William Kraft’s Electronic Music was commissioned for North America’s first CD sourced sound system, addressing reconfigured Altec-Lansing "Big-Red" Studio Monitors.
Goals
The problem was that access to and from the new “Concourse C” was via an 800’ subterranean passageway. United Airline’s was concerned that passengers would feel claustrophobic in this confined space and never fly United Airlines again. I created 25’ model with a mirror at its end to represent the 1/2 way point within the tunnel. I discovered some initial interpretations of a restricted environment having an extremely long horizontal length that I identified as an ‘accelerated visual impact’, exacerbated by a tiny end of the tunnel, goal. To relieve the crush of the too-close ceiling, I entirely mirrorizing it. To defeat the visual threat of the two 800 foot parallel walls I undulating them; blurring their impression as their distance from the observer increased. I placed softly undulating (colorless ‘white’ light), to greet the passengers from both ends. Upon entering the tunnel’s confined space I chromatically shifted to the calming cool end of the spectrum. As people felt more comfortable I progressed toward the warm colors changing the shape of the light elements to become angular. This induces a latent excitement in the person, who feels like they’re part of an adventure performance.

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