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VEAG media façade octubre 10, 2008

Posted by christian saucedo in Media facade.
Tags: ,

Tipo. Fachada media – auto activa

Autor. VEAG

Autor instalación. Jürgen Meier

Edificio. Energiewerke AG building

Ciudad. Chausseestrasse

País. Berlín

Año. 1999

Web. http://www.medienkunstnetz.de/works/veag-medienfassade

Imágenes. http://www.medienkunstnetz.de/works/veag-medienfassade

Video. http://www.medienkunstnetz.de/works/veag-medienfassade/video/1/

Vía. http://www.medienkunstnetz.de/works



The headquarters of the Vereinigte Energiewerke AG, which opened in 1999, is on the busy Chausseestraße in the Mitte district of Berlin. Pedestrians, cars and trams go past the façade, all moving at different speeds and seeing it from different angles. The building’s media façade consists of 18 windows which are switched to be opaque after nightfall in order to show images from 18 video projectors. The architecture of this media façade is very unusual: one horizontal and one vertical co-ordinate extend the image over a large area that is not playable itself. In late 1998, 11 European artists were invited to develop concepts for the media façade. The first work on the façade was completed in 1999 and the concepts submitted were presented in an exhibition.



5 vertical and 13 horizontal windows or wall segments articulate the façade and produce an L-shape. The idea is that rhythmical and optical impulses should flow along this shape from top to bottom or from left to right. Individual images move like waves from window to window at intervals. The background is dark at first, then a red beam of glowing energy thrusts through it. Even before this reaches the last window, individual spheres seem to erupt from the light impulse. The next surge of energy makes the ‘fireballs’ fade into blue; they are then transformed into apparently metallic masses that take on new shapes with each new wave of current. A serial form is always developed in linear sequence, and this turns additionally around its own axis. But the movement phases are slightly held back from window to window. The film loop has another dramatic element as well as the pulsating rhythm: towards the end the forms enter into unison, and thus a resonance that finally brings the flow of energy to a standstill. The images disappear, so that they can develop a new creative act from nothing a little later.




This group of Yugoslavian artists‘ concept is based on the notion of energy: both the energy that is produced, controlled and used by man, and also the energy that can be understood as a creative human potential. Complementary elements are used to illustrate this: man/machine, black/white, letters/figures. Horizontals (graphic animation) and verticals (a mouth forming the letters of the alphabet) function on the one hand as separate visual parts, but also produce a synchronized, dynamic and rhythmical composition. The minimal principle and the simple aesthetic place ‘Energeia’ in marked contrast with the high-tech effects of traditional video productions.



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