mas scenography // institute for design and technology // zhdk
07 - 09 // scenography concepts




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memory box
10 calendars / layers // how memory vanishes // the more you go back the more days will be lost and forgotten



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the new atlantis / houses of salomon // sir francis bacon / 1627
team: bruno prandi, felix rutishauser

scientific experiments with the purpose to conquer nature and achieve knowledge to the betterment of the society.
idea: each container represented one of salomon«s houses // the audience was invited to be part of the experiments // observing the process of combinig water and various objects that represent different sciences.

light houses // water houses // perfume houses // medicine houses // fire house // ice house // mechanical houses // sound-houses // engine houses // houses of deceits of the senses // perspective houses




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macbeth // shakespeare

macbeth wants the world to be at his feet // megalomania, delusions of grandeur
set: cabin of an aircraft // claustrophobic, isolated space, enclosed world
turnable and raisable platform / the acotors are within the cabin during the hole play
hirarchy: the life of all passengers lies in the hand of the pilote // pilotes, cabin crew, passengers
cockpit: place of power // ground contact / air-traffic controll / witches, voice only

act 3, scene 4
situation: a hall in the palace. a banquet prepared // enter macbeth, lady macbeth, ross, lennox, lords, and attendants.
plot: macbeth and his wife welcome the guests // banquos murderer enters the room. // dialogue about the assassination // banquos ghost appears













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the merchant of venice // shakespeare

team: carolina espirito santo, daniel hunziker, felix rutishauser
the trial scene: shylok is asked by the judge to cut Antonio«s flesh. but without dropping any blood.

up to that point shylok had the control / predominance in the trial. his power is on an equal level with that of the judge.
SHIFTING POINT // shylok realizes that he will not obtain the flesh, what means that he lost the fight. he looses his power again and diminishes.

idea: to visualize that process we wanted the audience in the vortragsaal to put themself in the position of shylok and experience the process of shrinking.

design // 3 projections:
1: character: welcoming attitude // the audiance is on an euqal level with the people of the projection // size: the projection is on one side of the room only // duration: several minutes

2: character: persons in the projection are getting taller, darker, higher // size: projection from 2 sides // duration: 2 seconds / quick change, transfer to next projection

3: character: full bodies, dark, without eyes // size: 360¡









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everyville / competition by la biennale di venezia

team: anna ackermann
calvino: die subtilen städte // 5 / book 5

description of a city that is hanging over an abyss. it is a city of dependency, everyone knows how sensitive the system is. indeed you can change the structure but you cannot add any further elements. dependency of the people within a society * the act of a person causes a reaction by someone else * balance * alliance

* conjunction * crossing * meeting point
interest: communication-chai
n * discovery and visualisation of the subtle communication in public space * transparency
concept: uncovered thoughts a city lives through its inhabitants. it is the people who give identity to a city through their personal story, thoughts, wishes and desire. the project „uncovered thoughts” wants to integrate the inhabitants into the urban space and make them visible. it would like to allow people space to express themself and give them the possibility to react and comment on each other. through this the new buildings that have only been placeholders or empty shells so far will be transformed, start to live and develop their distinctive identity.
the urban space should be used as a blackboard for everyone to express their feelings and state of condition through writing and drawing. everyone should feel free to be part of the city, to integrate themself.
uncovered thoughts: the walls in the city serve as a blackboard for people to express themself through writing and drawing. every perso has a pen with fluorescent ink that he can use whenever he feels like to reveal something to the public. every occupant can design his own façade and give the public an idea of what is hidden behind the walls. thereby the boundary between inside and outside blurs. the ink can only be seen at night through the direct light of a torch or a reflector. thereby the messages bear themself only by chance or through people whom actively search in the urban space for its life and identity. one can react and comment on someone’s statement, give a possible solution and proposal or complete someone‘s drawing. people who don’t want to know anything about the city and prefer to see the untouched empty shell can easily avoid getting disturbed. by and by, as the time changes, the ink fades away creating new space for other thoughts and suggestion. by this the face of the city constantly changes along with the constant change of nowadays city structure.





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the void

teamwork: heike heldt, daniel lüthi // prof. lawrence wallen, oliver griem
kgit center (korea german institute of technology), seoul

concept: fake and reality // how do fake plants appear in „natural“ enviroment?
situation: floristic arrangement with plastic / artificial plants in an artificial river and flowerbeds on the 26th floor of the kgitbuilding.
1. water plants: in the middle of seoul. a small artificial river (the water is circulating / pumped)
sight: no plants, only stones but a few real ducks.
2. field plants: on the roof-garden of the kgit-building, paltry flowerbed of a seoul university-building. between other plants in freshly planted flowerbeds

aspects / interests / idea:
if you do not know a country or culture it is difficult to differ between truth and fake / surface. what is reality and what is only the representation of a constitution, government that is made to give us as a visitor a specific image of a country. where is the difference between fake and real? we realized that we have been taken in by the similarity of plants f.e. quite often during the trip, as we marveld at beautiful orchids in business buildings or very green trees in the dim light of a korean bath. the point is that we liked those objects before we discovered that they were not real. when we found out about the fake we were suprised about the object and suddenly saw it in a different context.
if you look at an object from a distance, you might not discover a difference. what if the plastic plants would be made so close to reality as if real? if we would not discover the fake we would like the object? so the external appearance is not our measurement? does fake matter? why is it important for us that something is real? is it just because we do not want to be baffled? it only matters if we know that it is fake. the object looses its individual character and identity. it becomes convertible and empty because it only is substitution for something with higher value, an object that pretends to be something else.








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cafe

teamwork: anna ackermann, felix rutishauser / prof. lawrence wallen
zürich, tunnel langstrasse

task: find a little space in the city that is not used and build a cafe there.
in between spaces // narrowness // unused space that was formed by accident // not planned // slot // public space // small place determined by the spaces that surround it // negative form of the dominant places around it // deep impact of the neighbour-places
cafe: what makes space attractive?
optional, attractive space that invites you to stay only because it is pleasant.
contra: in between-space * place that you do not intentionally go to, you just pass by.
location: niche next to a tunnel * many cars * many bikes and pedestrians
character: the place doesn´t have any characteristic that we would call attractive, comfortable, cosy... it is a passageway, drafty, grey, sad, functional tunnels are pure passageway. they are solely made for people to pass it, never to stay there. tunnels are places of movement.



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soundworkshop

teamwork: niki schawalder, raphael perret, anik meijer-werner, daniel hunziker // prof. andres bosshard
ort: sparrow-wall, maag music areal, zürich

location: old factory building with a huge wall next to the staircases of the building. the wall is covered with ivy. it is the home of many sparrows. next to the wall there is an elevated road that leads the main traffic through the city.
sound: loud chirping / pure nature next to one of the most frequented streets of zürich.
time: birds: birds are getting up early in the morning in summer / 04:00 am
street: traffic in the morning starts about 04:30 am.
positions of the microphones: 1. „inside“ the ivy-wall / 3rd floor / close to the birds // 2. vis-a-vis on the bridge / close to the cars // 3. moving microphone / starting at the floor of the building, moving upwards to the fourth floor.
sound-development: 1. birds: the shy birds at first were threatened by our microphone but then started to chirp and finally left their sleeping- place for the day. 2. street: sound increases from only very few but quickly passing cars at about 4:30 am to the soundscape of very slowly driving cars in the rush hour about 7:00. 3. as the starting point was on the ground / below the elevated road you clearly could hear the dull sounds the heavy trucks produce when they are driving over bumps on the roadway. further upwards you could here the echo in the huge stairway with the birds plus the traffic in the background.
// what kind of soundscape are we used to?
// which sounds are considerd to be pleasant or unpleasant?
// which sounds do never stop?
// how does the sound of a city develope during the day?
// how does the sound of certain sound sources change when we walk through the city?
// how is the relation between audible and visual impression in the city?

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framing // still in progress

inside - outside // conventions of perspective // how do frames define situations or seperate them from each other.

// how are spaces build in films: inside - outside?
// how do frames define situations in film or seperate them from each other?
// when are conventions of perspective used in film?
// how is the connection between cinematic and architectural space concepts?
// how is space produced in film?
// how does the film cut (or longtake) support our impression of a filmic space?

concept for an exhibition about spatial effects / sensual perception of spaces
situation: an empty space / room // the space has at least one window / frame 1 // one mirror (with the shape of a trapezoid) / frame 2
except of that the space is empty // if you enter the room you do not know why there is a mirror and why it has this specific strange form (no rectangle). then you explore the space until you are standing in the specific position from where you can exactly see the window in its distortion reflected by the mirror. this is the „perfect point“ that gives a balance to the room and allows you to see its diifferent perspectives.
idea: 1. to frame a room means to surround and define its borders. the frame becomes a flat image, a projection screen.
2. mirrors show the space that lays behind the spectator that looks into it. mirrors enlarge your sight to a 360° view. you become able to perceive secondary rooms.
3. windows are passageways, that connect two different spaces with each other. in this space concept the window is duplicated: the mirror becomes a window and so a frame in a frame. two spaces are interleaved with each other, the space expands and becomes deeper.

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vilnius // still in progress
siena / the wall

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