Archive for category: Alumni

Interview: David Roth

David Roth is a video artist, scenographer and architect. After his diploma in architecture he founded prjktr. [projektor_berlin] together with Florian Machner and graduated in 2014 with the Master of Arts in Bühnenbild_Szenischer Raum.

Hi David, with what expectation did you start your studies here in 2012 and did you already have your current job in mind at the beginning?
The human being in spatial situations, that’s what interests me most and that was what brought me from architecture to scenography! And from there it evolved to staging things visually with an emphasis on video animations. I think it’s important to understand that studying is not a vocational education, but rather exploring contents, methods and processes. Not everyone who studies architecture necessarily becomes an architect, but maybe a scenographer. And not everyone who studies scenography necessarily becomes a scenographer, but – let’s say – a video artist.

What shaped you during your studies for your practice?
In classical school education it is slowly established that the learning effect is minimal with teaching approaches based on direct instruction or lecturing, they are simply no longer adequate. So when in your studies, it’s essential to design, to research and to develop as much as possible. I was really influenced by the ability to participate in teaching topics and contents. For example, as an extension of the curriculum we’ve already had in the Master’s programme, we founded the lecture series ‘Intergraph’. Over a period of several semesters, we experimented with different spatial formats, invited new artists, and got to know potential lecturers.

You founded the agency “prjktr.” after graduation. What do you guys do exactly?
Let’s say: we are the directors of rooms. The space is our stage. We unleash its scenic performance with light and projection. Our work is an artistic installation in space. We work with expansive video projections, interactive media and exhibits with video. We realize these visual set-ups for exhibitions, theaters and stages, retail spaces and trade fairs or for all kinds of events.

Could you tell me a bit more – how is your working process and with which partners do you work exactly?
Just a few of our fields of work are for example sketching ideas, doing key visuals, writing concept texts, drafting storyboards, rough animations, editing and postproduction, but also technical planning, programming of media art installations, video mapping, production of mock-ups. All of this also includes project planning, time and cost management, contracts, etc. of course. Almost every project is created in collaboration with musicians or sound artists, filmmakers, graphic designers, programmers, interior designers and generally spoken with a lot of great freelancers.

What do you like most about your job?
That we do everything. We develop from the first idea to the final realization of the installation. Each task is different, but always hyper-disciplinary, neo-creative, multi-visual and super-contemporary. It is always exciting.

What tips would you give to someone who wants to start their own studio?
That is quite easy:

1. Do it!
2. Continue!
3. Continue anyway!
4. Enjoy.

What that could look like, you can see at our website:

Thank you, David!


© all images: David Roth

Interview: Raimund Schucht

Raimund Schucht realizes spaces and stage designs for the Berlin-based agency TRIAD and the Movimentos Festwochen Wolfsburg, among others. After completing his apprenticeship as an interior decorator and subsequently studying architecture, he studied at the Master’s program Bühnenbild_Szenischer Raum of the TU Berlin from 2013 to 2015.

Raimund, you have studied architecture before, did you already have your current job in mind at the beginning of your studies?
I realized in my architectural studies already that classical architecture will not be my path. Therefore, I was looking for an alternative that combines my experiences from apprenticeship as an interior decorator and my classical architecture studies. I had a strong desire to combine media and architecture – so I worked in agencies that specialized in virtual and interactive spaces when I was a student. After a few years of agency life, I felt the need to fill spaces with content and life, to bring spaces to life, to charge them with spirit and emotions. This is how scenography came into play.

With what expectation did you start the studies here?
Actually, I started the Master’s program without much expectation, and one should not misunderstand that! Tt was a privilege for me to study again. Therefore, my goal was to just get as many impulses as possible. Eventually, the artistic handling of space came more and more into focus. At the end of my studies, I had the feeling that all my previous studies now come together in one profession. For the first time my many professional detours finally made sense! That’s a very good feeling which I continue having until today.

What were your priorities, were you interested stage design or in the scenic space?
At the beginning my focus was with ​​scenic space, whereby my interest was still strongly driven towards digital interactions. In the course of my Master’s studies, I developed a curiosity about how content and interaction can be blended together. The approaches could also be analog. It was important for me to question old ways of thinking and to allow new ideas. My goal was to let go of the rather structural planning I learned when working in architecture, to break the boundaries of the strongly digital-driven architectural processes. I rather wanted to incorporate artistic aspects, such as painting or model making into my creative work. I got new input from fellow students or lecturers, all of whom came from a wide variety of fields and also from the field of stage design that I actually had previously ignored. Especially the confrontation with the stages of Hans Dieter Schaal and the Bauhaus stages of Oskar Schlemmer led me to new trains of thought. It was especially their transformation of architectural means in stage sets or costume pictures and scenographies that I found inspiring. These strong inspirations from the field of stage design are still incorporated into my design processes – be it for an exhibition, a trade fair stand or a retail architecture.

What was so special about studying at the TU Berlin?
For me, it were the people behind the Master’s program who were truly special. It really was the diversity of the cultural and professional backgrounds of the classmates and the lecturers that enabled a lively and inspiring student life. The practical training helped me to establish international contacts. The artistic approach and the analogue way of working also inspired me to new ideas.

And have you been able to get in contact with clients during the practice-oriented study at the TU?
Early in my studies, I used existing contacts with cooperation partners or made new ones. My entry into the agency life also began during my studies at the TU. In the third semester, thanks to the help of two of my lecturers, I was able to establish contact with TRIAD, a Berlin-based agency for communication in space. I completed my obligatory internship there. Every since I have been working as a freelancer for TRIAD. The first steps in the field of stage design were also made possible by lecturers at TU Bühnenbild_Szenischer Raum. I was able to realize a set design for the award ceremony of the KAIROS Prize for the Töpferstiftungat the Staatstheater Hamburg with two fellow students. The contact with the Movimentos Academy was also created through the program. Since then we have realized several stage sets as an alumni team for the Movimentos Festival at the Theater Wolfsburg.

What do you like most about your job?
I especially like the versatility of this profession. In order to be able to experience all aspects of it, I have decided to become self-employed as a freelancer. Today I do not only work in creative agencies for communication in the room but also for cultural institutions. I really work in two different worlds! The mixture of stage and scenography helps me to always have a different view on the current task. Compared to classical architecture, working on scenographic projects is much faster. I like that very much, because you can always deal with new content and exciting topics. And somehow I like being on the road, too. The restlessness inspires me.

Is there something you would do differently today?
Today I would use the international opportunities and network of international students offered by the degree program even more. In addition to the regular curriculum with lectures and practical projects, the programme offers many additional opportunities for further education. For example, there is the Interdisciplinary Space Laboratory, founded by Prof. Albert Lang, which enables lots of opportunities for developing projects that go beyond the regular timetable. When I was a student, I did not realize the value of such offers. Today, I would use such opportunities much more and integrate them more into my studies. But all in all, I am very satisfied. Studying again in a Master’s degree was a great luxury and a tremendous asset.

What tips would you give to someone who wants to succeed in an agency?
The term scenography offers a lot of room for interpretation. To assert oneself in the agency world, it helps to position oneself clearly with his or her own profile: Where are your own strengths? What educational background do I include? As an aspiring scenographer you can engage in a variety of activities, for example in the field of conception, narration in space or as a designer of staged spaces.
The course offers many starting points that have to be reflected and researched first. I can understand freshly graduates when they start into professional life a bit unsettled. In my opinion, it helps to remain persistent and to always believe in one’s own strengths – every dream and every strength finds its place!
It has helped me to realize that my entire professional career with the Master’s degree finally results in a symbiosis. In the end, I realized that somehow everything belongs together and has its justification. I do not want to decide whether I want to work as a scenographer in an agency or as a stage designer at the theater. I can do both and both helps me for the other work. I take this versatility as a great gift and it helps me to take new steps. It sounds a bit dreamy, but nothing is wrong – it only needs the right circumstances and goals – and those you have to develop for yourself. Also, sometimes it helps to not listen to social conventions or lecturers ;-) and to go a completely different way instead.


© all pictures: Raimund Schucht and Ulf Büschleb for Triad

Go and get grab your copy now!