Luminapolis

Schlagwort: Scenography

  • ZDF Theaterkanal: Portrait des Lichtdesigners Franck EvinZDF Theatre Channel: Portrait of the Lighting Designer Franck Evin

    „Franck Evin ist Leiter der Beleuchtungsabteilung an der Komischen Oper Berlin. Seine Schätze strahlen, im wahrsten Sinne des Wortes, denn es sind die unzähligen Lampen im Lager und auf der Bühne. Erst mit ihnen werden die Aufführungen zum Leuchten gebracht,“ heißt es in der Beschreibung des Videos. Mehr>

    „Franck Evin is the head of the lighting design department of Komische Oper Berlin. The video follows him during his day on his job and gives impressions of the work done back stage.  More>

  • Andreas Wenger: „Exhibit!“ – IN3 Festival in Basel zu den Künsten der RauminszenierungAndreas Wenger: „Exhibit!“ – The Festival of the Spatial Arts and Scenography in Basel

    Luminapolis: Andreas Wenger, you are one of the festival directors of the International Scenographers‘ Festival IN3 Basel. The biennial festival started in 2006. From December the 2nd to 5th we will experience the 3rd edition. Can you explain the main idea to create this festival?

    Andreas Wenger:
    First of all, for scenographers, professionals as well as students, there has not been any festival in Europe, dedicated to scenpgraphy in specific. Spatial arts were represented on festivals such as „Profile Intermedia“ in Bremen, with a graphic art focus; Scenography always had the standing of a exotic discipline. This is why we started our festival in 2006 with a special and explicit focus on scenography and spatial arts. The first festival as well as this years‘ festival is designed, planned and produced by our students. Secondly, it is our idea to give students a chance to meet professionals and to learn about the actual scenography discourse.

    Luminapolis:
    You organize a very popular meeting point for the community of professional scenographers to present their key projects. What are the highlights of this year edition of the festival? And what is the concept behind the headline „Exhibit!“

    Andreas Wenger:
    On Thursday 2nd of December, we will start with one of our highlights: presentations and a discussion by Dr. Martin Roth (DE) and SIssel Tolaas (NOR) a surprise guest –one of the achitects of the Museumsinsel Berlin. We will close our first evening with the IN3 Challenge Award Gala for upcoming scenographers. Friday evening we will be hosting S AM the Swiss Architecture Museum with a talk between Anna Viebrock (DE) and Jacques Herzog (CH), presented by Hubertus Adam (DE) and on Saturday evening we will conclude the festival with the question: quo vadis museion? – a panel with Hermann Parzinger (DE), Uwe Brückner (DE) and Andreas Spillmann (CH).

    Luminapolis:
    What are your personal favorites of the programme in 2010?

    Andreas Wenger:
    I am very curious to see the facade projection on the main building of the Kaserne Basel, developed by „urbanscreen“ during a workshop with international students held an hosted by our institute. Furthermore I am looking forward to the EIS Meeting (European Initiative Scenogaphy) with the topic: Coaching Scenography on Sunday morning.

    Luminapolis:
    The combination of light, interactivity and media are one of the main trends in scenography, I think. The Expo in Shanghai, theatre productions or festivals like Luminale are examples for this evolution of media kits. Is this topic also part of your programme?

    Andreas Wenger:
    Of course this is one of the topics at the festival. We visited with all the students of the first and second year the Shanghai World EXPO 2010 in summer. I remember that one of our students at the end of the second day at the Expo said, that if he would see one more LED that day, he would have to air his belly… How much interaction, animated lightening and new media do we need in exhibition design and what do they contribute to the impact of an exhibition? Or: will we see more analogue exhibitions in the coming future? These questions will be debated on Friday morning in «MEDIA SPECIAL – talking spaces».

    Luminapolis:
    You are professor at the HGK FHNW in Basel. What are the next projects you work on?

    Andreas Wenger:
    At the moment we are working on a carnival float with some of our students, which makes a lot of fun! We are not sure yet, whether we will build one of the design in real and participate in the Basel Carnival 2011. No, seriously, we are planning and optimizing our contribution to the Master Studies at the Masterstudio Design at the HGK FHNW an are thinking of a PhD program in scenography.
    Luminapolis: Andreas Wenger, you are one of the festival directors of the International Scenographers‘ Festival IN3 Basel. The biennial festival started in 2006. From December the 2nd to 5th we will experience the 3rd edition. Can you explain the main idea to create this festival?

    Andreas Wenger:
    First of all, for scenographers, professionals as well as students, there has not been any festival in Europe, dedicated to scenpgraphy in specific. Spatial arts were represented on festivals such as „Profile Intermedia“ in Bremen, with a graphic art focus; Scenography always had the standing of a exotic discipline. This is why we started our festival in 2006 with a special and explicit focus on scenography and spatial arts. The first festival as well as this years‘ festival is designed, planned and produced by our students. Secondly, it is our idea to give students a chance to meet professionals and to learn about the actual scenography discourse.

    Luminapolis:
    You organize a very popular meeting point for the community of professional scenographers to present their key projects. What are the highlights of this year edition of the festival? And what is the concept behind the headline „Exhibit!“

    Andreas Wenger:
    On Thursday 2nd of December, we will start with one of our highlights: presentations and a discussion by Dr. Martin Roth (DE) and SIssel Tolaas (NOR) a surprise guest –one of the achitects of the Museumsinsel Berlin. We will close our first evening with the IN3 Challenge Award Gala for upcoming scenographers. Friday evening we will be hosting S AM the Swiss Architecture Museum with a talk between Anna Viebrock (DE) and Jacques Herzog (CH), presented by Hubertus Adam (DE) and on Saturday evening we will conclude the festival with the question: quo vadis museion? – a panel with Hermann Parzinger (DE), Uwe Brückner (DE) and Andreas Spillmann (CH).

    Luminapolis:
    What are your personal favorites of the programme in 2010?

    Andreas Wenger:
    I am very curious to see the facade projection on the main building of the Kaserne Basel, developed by „urbanscreen“ during a workshop with international students held an hosted by our institute. Furthermore I am looking forward to the EIS Meeting (European Initiative Scenogaphy) with the topic: Coaching Scenography on Sunday morning.

    Luminapolis:
    The combination of light, interactivity and media are one of the main trends in scenography, I think. The Expo in Shanghai, theatre productions or festivals like Luminale are examples for this evolution of media kits. Is this topic also part of your programme?

    Andreas Wenger:
    Of course this is one of the topics at the festival. We visited with all the students of the first and second year the Shanghai World EXPO 2010 in summer. I remember that one of our students at the end of the second day at the Expo said, that if he would see one more LED that day, he would have to air his belly… How much interaction, animated lightening and new media do we need in exhibition design and what do they contribute to the impact of an exhibition? Or: will we see more analogue exhibitions in the coming future? These questions will be debated on Friday morning in «MEDIA SPECIAL – talking spaces».

    Luminapolis:
    You are professor at the HGK FHNW in Basel. What are the next projects you work on?

    Andreas Wenger:
    At the moment we are working on a carnival float with some of our students, which makes a lot of fun! We are not sure yet, whether we will build one of the design in real and participate in the Basel Carnival 2011. No, seriously, we are planning and optimizing our contribution to the Master Studies at the Masterstudio Design at the HGK FHNW an are thinking of a PhD program in scenography.

  • Was ist Szenographie? Interview mit Uwe R. BrücknerWhat is Scenography? Interview with Uwe R. Brückner

    Luminapolis sprach mit Uwe R. Brückner über sein neues Buch, die Bedeutung des Lichtes für die Gestaltung von Ausstellungen und das Szenographie-Festival IN3, das Anfang Dezember in Basel stattfindet.

    Luminapolis:
    Uwe R. Brückner, ATELIER BRÜCKNER is one of the top agencies in 4D communications in Europe. Now you have published „Scenography“. It is a programmatic title. Can you try to explain in simple words: What is Scenography?

    Uwe R. Brückner:
    Basically speaking, the most important task of scenographic design is to translate complex content into physically accessible spatial narratives and to generate stage-managed spaces with narrative qualities. Ideally, the space itself becomes the medium, the conveyor of messages. After all, a stage-managed space is all about the dialogue between the location and its objects, about the relationship between content and recipient, about perception and the intended effect of an authentic spatial experience. Scenography is a polydisciplinary, generalistic philosophy of design. It is the logical, consistent answer to the design requirements of our time and the appropriate response to the continually changing behaviour of our information society. Designing scenographically means setting in scene, with the aim of providing a stage for things and stories and thus attracting maximum attention.

    Luminapolis:
    Your book presents your installations for museums, brands and scientific institutions between 2002 – 2010. Your guiding principle is „form follows content“. What are your media for conveying/relating the content/story? And what is the role of light in it?

    Uwe R. Brückner:
    What is characteristic of scenography is an integrative approach to design, whereby the means of designing and the artistic potential of the different disciplines such as architecture, interior design and set design, as well as installation and media art, are used in order to generate a coherent spatial installation in the sense of a “Gesamtkunstwerk”. Media are always used integratively, the idea being to create value-added. This also applies to the use of light.

    One of our more recent projects at Expo Shanghai for STATE GRID (China’s biggest energy company) generates its narrative structure from films by means of LEDs. A tightly meshed LED grid pattern on the six interior sides of the 15x15x15 meter cube enables film to be shown and produce a space-generating effect. The “Magic Box” is the beating heart of the State Grid Pavilion. From it, technical signals are transmitted that encompass the entire building complex with network lines imbued with electricity. In accordance with our attitude to design, the shape of the pavilion and the way images are shown in it are derived from the corporate philosophy of the State Grid Company: „Empowering your dreams“.

    Luminapolis:
    Sometimes I have the impression that exhibitions are undergoing a process of transformation into computer games. Interactivity is the main attraction today. Does the exhibit-object disappear from exhibitions? Design after things, is that the future?

    Uwe R. Brückner:
    My experience is that the much-cited dichotomy between the exhibit and its staged setting has been artificially talked up and is now simply outdated.
    Content in the form of an exhibit, its message or its narrative is always what is most important. In the case of collection-based exhibitions, the exhibit will therefore always be in the foreground. A good example is the new permanent exhibition of the Rautenstrauch-Joest-Museum, a museum of ethnology in Cologne which possesses a unique collection of international ethnographica. When the scenographic concept was being developed, the main objective was to create scenographic narrative spaces in which the exhibits would be able to reveal themselves with all their narrative qualities and animate the visitor to decode the details. The exhibit remains protagonist and narratively rich medium at the same time.

    Apart from this, there are themes and exhibition projects with, for historical reasons or because the theme is an abstract one, only a few collected items to be shown. Two of our work projects are worth mentioning as an example. One is the Visitors‘ Centre of the European Parliament that makes it possible to experience the legislative work of parliament. An additional challenge was to make the contents accessible in 23 European languages. Another example, the CERN Visitors‘ Centre, portrays the work of the scientists with and around the particle accelerator. These two examples concern highly abstract information which is primarily conveyed interactively with the help of media and can also be presented in a way that can be tangibly experienced by the public.

    Luminapolis:
    You are working with students at the Academy of Art and Design in Basel and there you are co-founder of the international scenography festival IN3 (next edition in December 2010). What is the focus of the festival this year?

    Uwe R. Brückner:
    Following the successful first festival «spatial arts – life in search of style» in 2006, that dealt with the trailblazers of scenography from various disciplines and the second event «staging the stage – scenography inspired by performing arts» in 2008, that was dedicated to the exponents of Scenography in performing arts, the festival 2010 will focus on examining the actual core business of scenography, i.e. “exhibiting and staging” in and around museums: «Exhibit! – scenography in exhibition design» will consequently be its title! The event will be presented from the 2nd thru 5th December 2010 in the Basel “Kaserne”. Target groups are locally and internationally active museum directors, curators and all those who are interested in the international museum and exhibition business. The festival addresses scenography students, their professors from partner academies of the Institute of Interior Design and Scenography, as well as the rapidly growing community of training institutions in Europe and abroad that, from their different perspectives, have dedicated themselves to training and education regarding scenography.

    More informations:

    Order the book here
    More about Atelier Brückner
    More about the Scenography Fesival IN3
    Luminapolis: Uwe R. Brückner, ATELIER BRÜCKNER is one of the top agencies in 4D communications in Europe. Now you have published „Scenography“. It is a programmatic title. Can you try to explain in simple words: What is Scenography? 

    Uwe R. Brückner:
    Basically speaking, the most important task of scenographic design is to translate complex content into physically accessible spatial narratives and to generate stage-managed spaces with narrative qualities. Ideally, the space itself becomes the medium, the conveyor of messages. After all, a stage-managed space is all about the dialogue between the location and its objects, about the relationship between content and recipient, about perception and the intended effect of an authentic spatial experience. Scenography is a polydisciplinary, generalistic philosophy of design. It is the logical, consistent answer to the design requirements of our time and the appropriate response to the continually changing behaviour of our information society. Designing scenographically means setting in scene, with the aim of providing a stage for things and stories and thus attracting maximum attention.

    Luminapolis:
    Your book presents your installations for museums, brands and scientific institutions between 2002 – 2010. Your guiding principle is „form follows content“. What are your media for conveying/relating the content/story? And what is the role of light in it?

    Uwe R. Brückner:
    What is characteristic of scenography is an integrative approach to design, whereby the means of designing and the artistic potential of the different disciplines such as architecture, interior design and set design, as well as installation and media art, are used in order to generate a coherent spatial installation in the sense of a “Gesamtkunstwerk”. Media are always used integratively, the idea being to create value-added. This also applies to the use of light.

    One of our more recent projects at Expo Shanghai for STATE GRID (China’s biggest energy company) generates its narrative structure from films by means of LEDs. A tightly meshed LED grid pattern on the six interior sides of the 15x15x15 meter cube enables film to be shown and produce a space-generating effect. The “Magic Box” is the beating heart of the State Grid Pavilion. From it, technical signals are transmitted that encompass the entire building complex with network lines imbued with electricity. In accordance with our attitude to design, the shape of the pavilion and the way images are shown in it are derived from the corporate philosophy of the State Grid Company: „Empowering your dreams“.

    Luminapolis:
    Sometimes I have the impression that exhibitions are undergoing a process of transformation into computer games. Interactivity is the main attraction today. Does the exhibit-object disappear from exhibitions? Design after things, is that the future?

    Uwe R. Brückner:
    My experience is that the much-cited dichotomy between the exhibit and its staged setting has been artificially talked up and is now simply outdated.
    Content in the form of an exhibit, its message or its narrative is always what is most important. In the case of collection-based exhibitions, the exhibit will therefore always be in the foreground. A good example is the new permanent exhibition of the Rautenstrauch-Joest-Museum, a museum of ethnology in Cologne which possesses a unique collection of international ethnographica. When the scenographic concept was being developed, the main objective was to create scenographic narrative spaces in which the exhibits would be able to reveal themselves with all their narrative qualities and animate the visitor to decode the details. The exhibit remains protagonist and narratively rich medium at the same time.

    Apart from this, there are themes and exhibition projects with, for historical reasons or because the theme is an abstract one, only a few collected items to be shown. Two of our work projects are worth mentioning as an example. One is the Visitors‘ Centre of the European Parliament that makes it possible to experience the legislative work of parliament. An additional challenge was to make the contents accessible in 23 European languages. Another example, the CERN Visitors‘ Centre, portrays the work of the scientists with and around the particle accelerator. These two examples concern highly abstract information which is primarily conveyed interactively with the help of media and can also be presented in a way that can be tangibly experienced by the public.

    Luminapolis:
    You are working with students at the Academy of Art and Design in Basel and there you are co-founder of the international scenography festival IN3 (next edition in December 2010). What is the focus of the festival this year?

    Uwe R. Brückner:
    Following the successful first festival «spatial arts – life in search of style» in 2006, that dealt with the trailblazers of scenography from various disciplines and the second event «staging the stage – scenography inspired by performing arts» in 2008, that was dedicated to the exponents of Scenography in performing arts, the festival 2010 will focus on examining the actual core business of scenography, i.e. “exhibiting and staging” in and around museums: «Exhibit! – scenography in exhibition design» will consequently be its title! The event will be presented from the 2nd thru 5th December 2010 in the Basel “Kaserne”. Target groups are locally and internationally active museum directors, curators and all those who are interested in the international museum and exhibition business. The festival addresses scenography students, their professors from partner academies of the Institute of Interior Design and Scenography, as well as the rapidly growing community of training institutions in Europe and abroad that, from their different perspectives, have dedicated themselves to training and education regarding scenography.

    More informations:

    Order the book here
    More about Atelier Brückner
    More about the Scenography Fesival IN3

  • Atelier Brückner gestaltet Universe of Particles (CERN)Atelier Brückner: Universe of Particles (CERN)

    CERN bietet eine neue Attraktion für Besucher. Vom 1. Juli an gibt die Ausstellung Universe of Particles einen überraschenden Einblick in die wissenschaftliche Arbeit, die nahe Genf rund um den Teilchenbeschleuniger geleistet wird. Die interaktive Ausstellung, gestaltet von Atelier Brückner, entführt zu einer Reise durch Mikro- und Makrokosmos.

    Im Besucherzentrum Globe of Science and Innovation werden auf 450 Quadratmetern Ausstellungsfläche komplexe wissenschaftliche Inhalte be-greifbar. Unter der 27 Meter hohen Kuppel des hölzernen Pavillonbaus fügen sich kugelförmige Ausstellungseinheiten zu einem Content-generierten Raumbild. Sie bieten vielfältige Informations- und Interaktionsmöglichkeiten, zielgruppenspezifisch und thematisch aufbereitet. Höhepunkt der inszenierten Free-Flow-Ausstellung ist ein multimediales, dynamisches Raumerlebnis, das den Urknall als Phänomen erfahrbar macht. Mittels Film-, Klang- und Lichtchoreografie wird der Ausstellungsraum selbst zum Exponat. Mehr>Visitors to CERN are offered a new attraction. From 1st July, the Universe of Particles exhibition will provide a look into the scientific work of the Large Hadron Collider (LHC) not far from Geneva, Switzerland. The interactive exhibition, designed by Atelier Brückner, transports the visitor through the micro- and macrocosm.

    In the Globe of Science and Innovation visitors are given an understanding of this complex scientific field. Below the 27 metre high dome of the wooden pavilion spherical kiosks and display cases combine to give a content-generated room narrative. They provide a wealth of information and opportunities for interaction, arranged according to target groups and subject-matter. The highlight of this free-flow exhibition is a dynamic spatial experience that has been staged with multimedia allowing visitors to experience the Big Bang as a phenomenon. The exhibition space itself, covering 450 square metres, becomes an exhibit using film, sound and light choreography. More>

  • IN3 Festival in Basel: Lighting and Scenography

    Basel. Vom 20. bis 23. November untersucht das biennale International Scenographers‘ Festival IN3 das szenografische Potential in den Performing Arts Disziplinen. Der große Einfluss von Theater, Film und Performance auf die Gestaltung von Inszenierungen, Ausstellungen, der Architektur und Räumen allgemein steht im Zentrum der Auseinandersetzung mit Volker Lösch, Jaume Plensa, Klaus Grünberg, Franck Ancel und dem Studio Olafur Eliasson sowie einigen internationalen Künstlern und Theoretikern der Sparten Theater, Kunst und Architektur. Mehr>

    Basel. November 20th to 23rd 2008, the biannual International Scenographers‘ Festival IN3 is aimed at examining the scenographic potential within the performing arts disciplines. It focuses on the substantial influence of theatre, photography and film on the arrangement of productions, exhibitions, rooms and architecture. International artists and theorists from the fields of theatre, art and architecture, including Volker Lösch, Jaume Plensa, Klaus Grünberg, Franck Ancel and the Studio Olafur Eliasson are present. More>

  • rosalie: Hyperion_Fragment

    Karlsruhe. Mit HYPERION_Fragment ist neben Helios eine neue Arbeit von rosalie im ZKM_Kubus zusehen. Entstanden ist die Licht-Installation als gemeinsames Projekt der Stuttgarter Künstlerin und des Komponisten Georg Friedrich Haas anlässlich der Donaueschinger Musiktage 2006. Mehr>

    Karlsruhe. With HYPERION_Fragment, and in addition to HELIOS (to be seen at the ZKM_Cube) another of rosalie’s works is to be presented at the ZKM. The work was created as a collaborative project between the Stuttgart artist and the composer, Georg Friedrich Hass, on the occasion of the Donaueschingen Music Festival, in 2006. More>

  • Waterdrop: Héctor Serrano for Roca

    ‚Waterdrop‘ ist eine neue Installation von Héctor Serrano für Roca. Eine spektakuläre und engagierte Inszenierung, die der Schönheit des Wassers huldigt. Mehr>

    ‚Waterdrop‘, a new project of Héctor Serrano for Roca, is a spectacular and engaging experience capturing the beauty of water. More>

  • Storytelling with Light and ShadowGeschichten erzählen mit Licht und Schatten


    Paris. An exhibition stand which tells stories. Invented by ‚Sounds of Silence‘ (Frankfurt/M) for Van Cleef & Arpels on the 24. Biennale des Antiquaires in Paris. Under the name ‚Sounds of Silence‘ the architect Petra Eichler and the artist and director Susanne Kessler work together since 2005 in their studio in Frankfurt. ‚Sounds of Silence‘ was also the title of their first project, an exhibition of installations about the different qualities of the silence which founded their collaboration. More> Paris. Ein Messestand, der Geschichten erzählt. Erfunden hat ihn ‚Sounds of Silence‘ (Frankfurt/M.) für Van Cleef & Arpels auf der 24. Biennale des Antiquaires in Paris. Unter dem Namen ‚Sounds of Silence‘ arbeiten die Architektin Petra Eichler und die Künstlerin und Regisseurin Susanne Kessler seit 2005 in ihrem Studio in Frankfurt zusammen. „Sounds of Silence“ war ebenso der Name ihres ersten Projektes, einer Reihe von Installationen über die verschiedenen Qualitäten von Stille, die ihre Zusammenarbeit begründete. Mehr>