By Bruno Schindler (auth.), Christoph Kronhagel (eds.)
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Extra info for Mediatecture: The Design of Medially Augmented Spaces
All of which means that I think that my initial suspicions of 1991 have been proved right. Film seeks to immerse the viewer – to draw him in and surround him. Mediatecture is a potential means of doing this. 16:9 widescreen, high deʏnition television (HD) and 3-D television and cinema are all leading in the same direction and conʏrm the thesis. The next step will most likely be the 360° x 180° ʏlm projected inside a sphere – so-called “Immersive Cinema”. “R+J” (Romeo and Juliet), which I made in 2003, was the world’s ʏrst feature ʏlm made in this new genre.
And this in turn leads to the justiʏed criticism of media façades, that they simply overload urban spaces and architecture with virtual images. This sense of overloading occurs because – as you say – the depth of the space cannot be explored. These thoughts also went through my head as I developed the concept for the opening of the media façade for Bayer. Firstly I thought about the many media façades in Asia – and this made me uneasy because such advertising surfaces are something of an epidemic.
In the heart of the foyer a real tree was planted which, despite all doubts, has ʐourished. But this image alone would be too simple, too clichéd. Opposite the tree we placed a semi-transparent reʐecting surface onto which a video could be projected from behind. The real tree, its reʐection and the contents of the projected media program combine into a single entity. The video material consists of discussions on the themes of life sciences, biotechnology and genetics. The element of interaction which we have chosen is – what else – the apple of wisdom!
Mediatecture: The Design of Medially Augmented Spaces by Bruno Schindler (auth.), Christoph Kronhagel (eds.)