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Contents
R e d e f i n i n g S pac e
1994
7
Painted Music 12 Carmina Burana
The Panoramic Experience 16 Frank den Oudsten 2000
Multisensual Event 20 Cycles
2000
24 Virtual Billboards Theme Trailers
2001
Strip Cinematic Moebius 28 Blue Gardens
Bringing Innovative New Products to Life! 36 Petra Lessau 2002
Walk-In Movie 38 Living Frontiers
2004
Cultural Stage 52 BW Lounge
2007
60 Dancefloor Vibrant Graphic Holodeck
2007/11
Sound Space 64 Walk-In Composition
72 Experiencing Bach’s Music Dr. JÜrg Hansen 2008
Communicating Space 74 Visual Symphony
Storytelling Pioneers 84 Prof. Joachim Sauter 2008
Media Facade 86 Wall of Africa
2008
Real-Time 96 Playground Sala Agua
Impossible Dream 108 Boris Micka
2010
Interactive Archive 110 Three Graces
2013
Revitalised Figurines 232 Carnival Theatre
2010
Informative Mainshow 118 History of the Universe
2014
Interactive Narrative Realtime Environment Time Machine
Masters of Immersion 124 Valentin Spiess 2010
2010
Pulsating Facade Immersive Brand Experience Magic Box
2010
A Pleasant Collaboration 260 Prof. Min Zhang
126
Spatial Media Theatre 138 Kingdom of the Shadows
Culture Communication between Science and Media Art Prof. Dr. Eckart KĂśhne
242
152
2014
Audiovisual Wishing-Table 262 Media Banquet
2014
Participative Exhibition 270 The Ting
Technology and 284 Democracy on Discussion Tim Ventimiglia 2014
286 Mapping History City Model
2014
Interactive Kinetic Landscape 290 Time-Dynamic Model
2014
Spatial Corporate Marketing 302 Experience Room
154 Immersive Media Space The Treasure
Spatial Sound and Music 166 Stefan Will & Timo Blunck 2011
168 Sea of Patterns Zoo Mari
2011
172 Audiovisual Homage Kaleidoscope
2012
Interactive Light Matrix Poetic Mainshow Energy Field
2012
Multi-Dimensional 190 Exhibition The Source
Emotional 314 Brand Communication Malte Turk 2014
176
316 Sensual Fashion Stage Event Scenography
M o v in g A hea d 327
200 Media-Enhanced Staging of Nature Silvia Schlecht & Mauro Testerini
C re d its 328 T eam 332 I mprint 335
2012
Virtual Window 202 Sphinx Hall
2013
Experiencing Nature 214 National Park Centre
The Space Collectors 228 Prof. Uwe R. BrĂźckner
126
Pulsating Facade Immersive Brand Experience Magic Box State Grid Pavilion Expo Shanghai 2010
Facade: 380m2 LED facade 4,700m2 light facade Main show: 6 LED walls 16 million LEDs 7,452 × 5,589 pixels Cubic content production 15m × 15m × 13m Duration: 7min
Following the Expo Shanghai 2010 overall theme “Better City, Better Life”, China’s largest energy provider State Grid made a strong statement with a pavilion that expressed the philo sophy and vision of the company in powerful images. The grid, which was used to symbolise State Grid’s diverse core competences, was transmitted not only in the main show, but also through the pavilion’s multimedia facade. The Magic Box, which appeared to be self-supporting, floated in mid-air over the main entrance, forming the cen tral element of the architecture. During the day, the wind played with the tiny movable plates that covered the RGB LED facade, reflecting their surroundings like a mirror. When night fell, these plates turned into pulsating, lumines cent frequency generators. The LED facade visualised energy in all its states and forms of transmission. Shifting, illuminating, spinning, spreading, sweeping, stimulating, growing. The facade was radiating and dynamic, absorbing, transforming and distributing energy as a colourful process that visitors could experience at first hand. The visual “heart beats” generated from the centre spread in waves of light over the building’s entire outer surface to make the pavilion a highly visible eye-catcher on the Expo grounds, inviting the visitors to enter the building, a fasci nating and continuously changing and vibrating energy stream, a steady flow of energetic, active images in trans formation. The facade became a translucent membrane, communicating the inside to the outside of the pavilion, connecting with and exploring different aspects of energy forms and their absorption and translation into the power system, transforming the building into the grid itself, the effective, steady and reliable starting and end point of every transformation.
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The “heart beats” spread in waves of light over the building’s entire outer surface to make the STATE GRID pavilion a highly visible eye-catcher on the grounds of Expo 2010.
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The facade explored different aspects of energy forms and their absorption and translation into the power system, transforming the building into the grid itself.
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Tamschick Media+Space, under the creative lead of Atelier Brückner, contributed to the spatial media design and pro duced both the facade illumination and main show content in collaboration with m box bewegtbild. Idee und Klang realised the sound design and music scores. The main show inside the Magic Box was an all-engulfing experience, in which the visitors were standing on a trans parent glass bridge, floating inside a cube that was com pletely covered by images. The walls, floor and ceiling all consisted of high resolution LED screens that created an immersive media space, in which up to 250 visitors were taken on a journey through the energy cosmos. This emotional, artistically interpreted walk-in 720° all-around production conveyed State Grid’s responsibility for servicing the country with a smart, strong and reliable national grid. The visitors were transported into the power grid, witnessed the transformation of energy and how it converts from the natural sources sun, heat, wind and water to the grid, literally becoming an electron inside the electric current and travel ling through the country, from the vast landscapes of the western provinces – where the natural energy resources are found – over thousands of kilometres through the whole country to the mega cities in the east. Here, the visitors learned how the use of clean energy will improve the quality of life and make a sustainable and beautiful future possible. Completely surrounded by images, the visitors themselves became part of the action. The motion and pace of the ani mations were developed in a way that the senses were tricked and overwhelmed, the constant metamorphosis of images exploded over the facets of the cube to change the perception of the real space and to draw the visitors into the action. The stream of energy lines pulsated over the walls of the cube, transforming it, changing perspectives and decomposing reality.
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To be able to change and adjust until to the very last minute, a new tool was developed to control all the different light sources, from LEDs to colour washers. The content was generated and mapped in real time onto the facade.
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The main show was a seven-minute all-engulfing experience, in which the visitors stood on a transparent glass bridge, floating inside a cube that was completely covered in images.
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Sketches from the storyboard for the final dramaturgy
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The protagonists of the film were shot in a greenscreen studio.
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The visitors were transported inside the power grid and witnessed the transformation of the energy,literally becoming an electron inside the electric current and travelling through the country, from the vast landscapes of the western provinces over thousands of kilometres through the whole country to the mega-cities in the east.
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Immersive Media Space The Treasure
Saudi Arabian Pavilion Expo Shanghai 2010
25 projectors 1,600m² curved projection screen 9,216 × 3,072 pixels 6.5min loop Shot on IMAX and Hasselblad 16-channel sound 16 speakers
At the Expo 2010 in Shanghai, Saudi Arabia presented itself with one of the most impressive architectural concepts: a giant ship’s hull resting on columns with a palm-tree-studded oasis on top. Commissioned by Acciona Producciones y Diseño (formerly G.P.D.) and developed together with their creative lead Boris Micka, the mainshow for the pavilion was produced by Tamschick Media+Space in collaboration with m box bewegtbild, presenting the majestic grandeur of the kingdom in an innovative and unique way. Inside, the visitors stood on a conveyor belt that slowly moved them around. They first glided through the preshow “A Handful of Sand”, in which they were introduced to the country and its culture. Then they continued their journey onto a bridge and into “The Treasure”, above a concave projection surface of 1,600 m2 that encompassed the entire floor of the space. The room’s centre, walls and ceiling were covered by a mirror mosaic. From aerial landscape views of the country, such as deserts, mountains and seas, partially shot with an IMAX camera, partially recreated by using satellite images, to animated abstract Arabian patterns and specially created timelapse shots of growing grass leaves, all motives for this immersive journey were finally assembled with diverse animation techniques to be able to fill the incredibly big space flooded by the light of 24 Full HD projections and using a resolution of 8K × 4K. The visual compositions flowed out from the room’s deepest point to fill the floor and walls in their entirety, with the reflections from the mirrors making the room appear endless. The images seemed to be slowly sliding up the walls and across the floor, emerging from the centre of the space,
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The visitors stood on a conveyor belt that slowly moved them onto a bridge above a concave projection surface of 1,600m² that encompassed the entire floor of the space.
157 The room’s centre, walls and ceiling were covered by a mirror mosaic.
occasionally switching directions – in combination with the motion from the conveyor belt, the feeling of flying across the landscape was evoked, tricking the senses, as if travelling on a flying carpet. Perfectly complementing this visual experience was the sound composition by Bluwi, recorded with a symphonic orchestra of 80 musicians. The cinematic soundtrack was able to directly access the hearts and minds of the visitors and to completely immerse them into the images, perfectly in sync with the dynamic changes and rhythmic movements of the images surrounding them. The Treasure was a stunning and poetic homage to Saudi Arabia and its people that displayed both the beauty and pride of this country, as well as its strength and striving for innovation.
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The pavilion’s tremendous success was due to its capacity to manage the huge flow of visitors. The rush was unbelievable: People had to wait for up to nine hours at peak times.
Saudi Arabia presented itself with one of the most impressive architectural concepts: a giant ship’s hull resting on columns with a palm-tree-studded oasis on its top.
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The movements of all animations were carefully developed and selected to trick the senses of the visitors travelling on the conveyor belt.
The visual compositions flowed out from the room’s deepest point to fill the floor and walls in their entirety, with the reflections from the mirrors making the room appear endless.
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All motifs for this immersive journey were assembled with diverse animation techniques to be able to fill the incredibly big space.
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Interactive Light Matrix Poetic Mainshow Energy Field GS Caltex Pavilion Expo Yeosu 2012
380 fibreglass blades 18m height 20 interactive blades activate specific reactions of the energy field in real-time 360° film Height 5m, length 41m 7 projectors 10,076 × 1,200 pixels Duration: 7.5 min.
From the distance, the “Energy Field” of the GS Caltex Pavilion magically attracted visitors at the 2012 Expo site in Yeosu, South Korea. The so-called blades with a height of 18 metres swayed gently in the wind like grass. Their constant movement symbolised the perpetual flow of energy in nature. The LEDs inside the blades were in constant motion, control led by a generative and reactive 3D matrix creating a choreo graphy of light impulses: By only using movement and colour, the blades transformed into grass, or clouds and thunderstorms, rain drops fell inside the field, the sun went up and delivered its heat. Natural energy was revealed in all its states and forms. The visitors could wander through the field. And simply by touching some of the blades, energy impulses were released and spread outwards in waves. On behalf of and in close cooperation with the lead agency Atelier Brückner, Tamschick Media+Space developed the light choreography for the blades, produced the content for the 360° film installation and, together with Bluwi, the sound design. Inside, at the centre of the pavilion, a 10-minute 360° film installation – part of it interactive – metaphorically drew the visitors into the world of energy. Poetic images in a minimalist black-and-white aesthetic created an immersive experience. Standing on an interactive floor that at hotspots reacted to the movement of their feet and produced realtime effects as they moved around, they were shown the film that opened the space virtually to an endless sea of energy waves. Visualised sound frequencies, electric energy, spatial grids making visible empty space, massive ocean waves and underwater scenes were in a constant intertwined flow, sweeping the visitors away on a powerful journey without overwhelming them. The colour reduction resulted in their attention being drawn to the pure essence of energy, with the white shapes emerging out of the dark transporting the notion that energy can create something out of nothing. The music and sound design were specifically composed for this concept and emphasised the feeling of energetic flow surrounding the visitors, complementing the narration and resulting in a totally immersive experience.
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The star-shaped pavilion was surrounded by the “Energy Field“, an area of 380 illuminated 18-metre-high fibreglass rods.
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Within the specially developed and programmed simulation tool the choreography of lights could be visualised, developed, easily adjusted and mapped to the dmx light controllers on site.
The constant movement of the interactive 3D light matrix was the first hint at the perpetual flow of energy in nature. Being able to wander through the field, the visitors could trigger interactive effects in the blades. By touching them, coloured light was released from them, spreading out in waves through the other surrounding blades.
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Upon entering the pavilion, visitors found themselves in a circular space completely surrounded by a 360째 projection, with a height of five metres and a circumference of 41 metres.
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Sketches and scenes from the final film
The desired effects in space are constantly monitored during the production process by using specially developed 3D real-time visualisation tools and 1:1 test projections.
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Poetic images in a minimalist black-and-white aesthetic created an immersive experience. Within the specially created "black soup" any light shape emerged out of the dark like a hologram, transporting the notion that energy is everywhere and can create something out of nothing.
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Participative Exhibition The Ting
Norsk Teknisk Museum Oslo 2014
Shelf 3 projectors Linear video and real-time 2D & 3D graphics 5,280 × 1,056 pixels Interactive table 1 projector Diameter 4m 1,200 × 1,200 pixels IR tracking of untreated wooden cubes 10 Microsoft tablets with real-time 2D & 3D graphics 3-channel audio Web interface for comment functionality
On the occasion of the Norsk Teknisk Museum’s 100th anniversary and also the 200th anniversary of the Norwegian Constitution of 1814 the museum has – in collaboration with Ralph Appelbaum Associates and Tamschick Media+Space – developed a ground-breaking, participatory exhibition that invites visitors to engage in a dialogue concerning historic and future relationships between technology and democracy. The Ting, in medieval Scandinavian society a round table around which tribal representatives gathered to discuss community matters, is re-interpreted with modern exhibition techniques that combine dramatic, object-based displays, bold graphics, large-scale interactive media and interactive programming. At the centre of the exhibition, a circular interactive media table invites visitors to discuss objects representing revolutionary technologies and their positive and negative impacts on the establishment as well as the fostering and practice of democracy in society. Visitors then collectively formulate an outcome by voting on a series of questions posed by a moderator. Visitors participating in the Ting experience will realise that any one technology has many possible uses and meanings and can have profound impacts on the well-being of society as a whole. But through thoughtful debate and collective choice-making, we can shape the world we live in. The entire experience thus reflects on the democratic process itself, and seeks to inspire visitors to participate in ongoing debates concerning the relationship of technology to democracy. Visitors can pick up a wooden cube, which becomes the trigger for all interactions in the exhibition and during the Ting sessions. A television transmitter, a military rifle, an industrial
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Surrounding the Ting table, a curved, 25-metre-wide and five-metre-high shelf displays 100 illuminated objects behind a semi-transparent gauze that also functions as a 180째 projection surface.
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robot and an early computer historically showcase the cultural and political uses of technology. Visitors use their wooden blocks to reveal widely different perspectives on how each of these technologies have played a significant role in both the development and destruction of democratic societies. Surrounding the Ting table, 100 objects are showcased behind a semi-transparent screen. Visitors explore the shelf with the interactive tablets or by placing the wooden cubes on objects appearing on the table, simultaneously bringing the objects in the shelf to life with light, mapped animation sequences and narrative sound design, developed by Bluwi. The exploration of the different objects is playful, immersing visitors in a feeling of timelessness. It is also informative as it gives background information of the technologies. Each of the eight Ting sessions is introduced by highlighting one object on the shelf. A narrator supports the visual storytelling about the revolutionary technology the object is representing and its relation to other modernising developments and how these have influenced the development of society and democracy, such as the endless amount of production possibilities of the 3D printer, the political freedom and control of the smartphone, drones and their disputable civilian and political use, the ever-connecting and overbearing impact of the internet, nanotechnology and its unknown risks and potentials, the convenient and dehumanising use of robots in health care, DNA sequencing’s impact on science and society and the responsibilities and sacrifices of sustainable energy. For each technology, the visitors are challenged by a series of questions, a moderator triggers the discussions and invites the visitors to vote. In real time, the outcome is calculated and displayed on the table, and then on the huge screen on the shelf. Literally standing in a giant landscape of opinions, the outcome of the vote is disputed. All collected data can be displayed in clusters and compared with previous sessions. As a last participative gesture everybody is invited to leave their own trace, their own feeling and opinion by commenting the Ting and leaving a short note on the shelf via smartphone or tablet. Then, they leave their wooden blocks behind, casting a last vote to the concluding question: “Is it possible to control technological development in a democracy?� The blocks pile up and become a tangible result that evolves over the many cycles of the Ting.
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Entering the exhibition, visitors can pick up a wooden cube, which becomes the trigger for all interactions in the exhibition and during the Ting sessions.
Visitors explore the shelf by placing the wooden cubes on virtual objects appearing on the table, enlivening the objects in the shelf by light.
A moderator starts each Ting session. For each technology, the visitors are challenged by a series of questions, the moderator triggers the discussions and invites the visitors to vote.
In real-time, the outcome is calculated and displayed on the table, and then on the huge screen on the shelf. Literally standing in a giant landscape of opinions, the outcome of the vote is disputed.
Visualisations of the media installation
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Different design phases of the circular Ting table
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Eight controversial objects are put up for discussion and voting at the Ting.
281 Each one of these revolutionary technologies is introduced with a short trailer, narratively illustrating their past, current and future possible impacts on democracy and society.
Two decades of experimental media scenography aiming to exhibit the unexhibitable. 30 international award-winning projects by Berlin-based studio Tamschick Media+Space GmbH showcase the art of translating content and messages into unique and memorable immersive experiences. Media in the manifestations of film, sound and interactive technology are the building blocks for reshaping space to narratively communicate concepts. TMS is a ground-breaking specialist in multimedia storytelling through spatial installations. From the initial idea and the concept via shooting and editing, animation and computer-generated images to interaction programming and implementation on site, TMS covers the full spectrum of innovative media production for the means of altering spaces.
₏ 59,00 (D) / US $ 85.00 ISBN  978-3-89986-214-0
9 783 899 862140 >
Richly illustrated with photos, drawings, sketches, styleframes and storyboards, this monograph grants insights not only into the immense variety of projects that TMS has achieved to date, but also behind the scenes and into the elaborate creative process. Well-known authors from the fields of scenography, architecture, museums and exhibitions share their experiences plus some anecdotes about their collaborations with TMS.