… das AntiVJ Team hat in Polen in einer von Mac Berg entworfenen Architektur eine der beeindruckendsten Projection Mapping Installation verwirklicht, die dazu auch noch dauerhaft erhalten bleiben soll. Aber seht selbst…
O (Omicron) from Romain Tardy (AntiVJ) on Vimeo.
O (Omicron)
A permanent installation directed by Romain Tardy & Thomas Vaquié
Hala Stulecia, Wroclaw, Poland.
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When opened, Hala Stulecia was the largest reinforced concrete structure in the world. With a diameter of 65m it was home to the largest dome built since the Pantheon in Rome eighteen centuries earlier.
The piece proposed for the Centennial Hall of Wroclaw is based around the notion of timelessness in architecture, and the idea of what future has meant throughout the 20th century.
Taking the 1910’s as a starting point (the dome was erected in 1913), historical and artistic references were used to reveal the architecture of the space.
By using references such as Fritz Lang’s Metropolis or the utopian projects of Archigram to confront the different visions of the future at different times, Romain Tardy and Thomas Vaquié were interested in trying to create a vision of a future with no precise time reference. A timeless future.
Read more about the project on the ANTIVJ BLOG: http://blog.antivj.com/2012/o/
Contact: Nicolas Boritch / hello@antivj.com
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DIRECTED by Romain Tardy & Thomas Vaquié
ARCHITECTURE by Max Berg (1913)
VISUALS by Romain Tardy, Guillaume Cottet
MUSIC composed by Thomas Vaquié
2D / 3D MAPPING by Joanie Lemercier, Romain Tardy
MANAGEMENT & PRODUCTION Nicolas Boritch
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Filmed by Jerome Monnot, Joanie Lemercier, Romain Tardy
Edited by Jerome Monnot
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http://WWW.ANTIVJ.COM
Der Blick hinter die Kulissen / Das MakingOf ist einen Blick wert!
O (Omicron) / Making of from Romain Tardy (AntiVJ) on Vimeo.
The making of O (Omicron)
Permanent installation directed by Romain Tardy & Thomas Vaquié
Hala Stulecia, Wroclaw, Poland. 2012.
The Centennial Hall was listed as a UNESCO World Heritage Site in 2006. Taking the 1910’s as a starting point (the dome was erected in 1913), historical and artistic references were used to reveal the architecture of the space, its timeless and, more surprisingly, very modern dimension.
A deliberately minimalist visual aesthetic allowed to highlight the very architecture of Hala Stulecia’s dome and re-affirm its place at the core of the piece.
