Archive for category: Lectures

LECTURE 13.02. Gesa von Grote: Space I Object I Light

20Light dramaturgy and object staging in exhibitions

Scenography serves to stage content. Ideas, stories and things become a spatial dramaturgy that appeals to the senses and at best evokes emotions. Scenography uses all means of space creation to stage themes and artefacts. Instruments include a structuring architecture and exhibition graphics as well as the immaterial language of media and light for objects of all kinds.
Light in museum and exhibition spaces is a complex area in lighting design. Not only the surrounding space, but primarily the objects must be shown to their best advantage, while at the same time integrating solutions for their protection and preservation as well as optimal perceptibility of the objects by the viewer. Gesa von Grote develops optimal lighting dramaturgies through a clever combination of daylight, room lighting and exhibition lighting.
With a high aesthetic standard, object stagings and light spaces are thus created and new perspectives of perception are opened to the viewer.

13th February 2020 at 7 p.m. 
TU Berlin, Studio 484, Masterstudiengang Bühnenbild_Szenischer Raum,
Ackerstrasse 76, 13355 Berlin, (Access: courtyard 3, staircase H, 4th floor left)
(Free admission, no registration required)
Link to the Facebook event

Gesa von Grote is an architect and scenographer. After studying architecture at the RWTH Aachen, the École d’architecture de Paris-La Défense and the Hochschule der Künste Berlin, she has been working with the exhibition organizer Stefan Iglhaut since 2005, since 2010 under the name IGLHAUT + von GROTE. Together with her interdisciplinary team, she develops concepts and projects in the fields of cultural history, science, art and the brand world and realises narrative spaces and media architecture for these. For her presentation concepts the surrounding space, exhibition architecture, graphics, media, light and object world are combined.

Picture 1: Exhibition ship MS Wissenschaft “The digital society”. Network of light cords
@Gesa von Grote

Picture 2: German Music Archive in the German National Library in Leipzig. Large display case with suspended objects, highlighted by accent lighting
@ Iglhaut + von Grote

LECTURE 23.10. Klaus Grünberg: Landstraße. Ein Baum. Abend.

Klaus Grünberg reports on his own work and working methods. For him, scenography is only a visual art at first glance. About scenographic composition, the autonomous role of scenography in a theatre production and how boring it would be if everyone told the same story at the same time. About techniques that remove a design from the artist, that make the artist’s hand disappear and turn chance into a designer. What developing a set can have to do with designing a garden.

23rd October 2019 at 7 p.m.
Location: TU Berlin, Studio 484, Masterstudiengang Bühnenbild_Szenischer Raum,
Ackerstrasse 76, 13355 Berlin, (Access: courtyard 3, staircase H, 4th floor left)
(Free admission, no registration required)
Link to the Facebook event

Stage design and light
Klaus Grünberg comes from Hamburg, studied stage design with Erich Wonder in Vienna and has since worked as a freelance stage and lighting designer at theatres and opera houses in Europe as well as in Kuwait and Buenos Aires. Together with the composer and director Heiner Goebbels, he has been working on several music theatre projects since the nineties, and for a long time he has collaborated with the directors Tatjana Gürbaca and Barrie Kosky and others. In 1999 Klaus Grünberg opened the MOMOLMA (museum of more or less modern art). Further information and pictures at:

LECTURE 09th May: Text I Space I Stage I Play

In the concepts for the interior design of the actually empty space for a theater performance, the relationship between stage and audience is of initial interest. The form of setting up a stage in a concrete theatre space always depends on the character of the text in its historical period and the habits of the actors and their audience. As an example, the lecture questions the consequences for the scenic play and the authenticity of the performance. At the Berlin Schaubühne, Jan Pappelbaum has the ideal universal theatre space in which he consistently incorporates his insights into the stages of further performances. In the lecture he talks about his experiences and makes his interest in the self-evidence of contemporary aesthetics comprehensible by researching and using concrete materials and situations from everyday life, using documentary photographs.

Lecture: Jan Pappelbaum

Thursday, 09. Mai 2019 um 19 Uhr
Location: TU Berlin, Studio 484, Masterstudiengang Bühnenbild_Szenischer Raum, Ackerstraße 76, 13355 Berlin
Free entry, lecture is held in german
Facebook Link


Jan Pappelbaum was born in Dresden in 1966 and studied architecture in Weimar until 1993 following his apprenticeship as a bricklayer. Thereupon he worked as a freelance stage designer until 1999 when he became a permanent head of the Schaubühne Berlin. Since then he has been responsible for the design of more than fifty stage sets and furnishings. At the same time he worked as a freelance stage designer abroad at opera houses and exhibition architectures in Frankfurt and Dresden.



Lecture 17th April: Interfaces – Exhibition direction in the curatorial work

If one takes exhibitions seriously as independent media, it becomes clear that with each exhibition something unmistakably new emerges from the actors involved – from concepts, objects/collections, texts, spaces, sounds, installations, persons, etc. – something unmistakably new. Exhibitions show something that cannot become visible in any other way, i.e. that is owed to the specific logic of precisely this medium. What kind of logic is this and what are the challenges to curatorial and scenographic work against this background?

The thesis is that the concept of exhibitions as independent media (which is quite new) cannot do without the concept of directing, which creates relationships between the highly diverse participants, mediates between their claims to representation, explores possibilities of translation between the concept of content and science and aesthetic and spatial designs, and makes certain settings in the sense of an overall direction. The lecture revolves around the concept of exhibition direction using examples and presents the interface between curatorial and scenographic practices for discussion.

Lecture: Prof. Nicola Lepp

Wednesday, 17th April 2019 7pm
Location: TU Berlin, Studio 484, Masterstudiengang Bühnenbild_Szenischer Raum, Ackerstraße 76, 13355 Berlin, Germany
free entrance
Link to the Facebook event follows

Nicola Lepp is a cultural scientist and exhibition organizer. Since 2015 she has been Professor of Culture and Communication at Potsdam University of Applied Sciences.

Exhibitions include GRIMMWELT, Kassel 2015; Museum der Gefäße Humboldt Lab Dahlem, Berlin 2013; PSYCHOanalyse. Sigmund Freud zum 150. Geburtstag, 2006; Der Neue Mensch. Obsessionen des 20. Jahrhunderts, 1999.

Photo © Jan Bitter

Lecture 2th April: CyberRäuber TRANSFORMING THE STAGE – Using VR/AR in classical theatre to create the hyperstage

Lecture 2th April: CyberRäuber TRANSFORMING THE STAGE – Using VR/AR in classical theatre to create the hyperstage

During the last two years the artist’s CyberRäuber have successfully brought theatre experiences, stages and actors into virtual reality. However VR has far broader implications that can help to transform the theatre stage as well as augment acting as we know it today. Building impossible stage sets and merging the physical world with virtual objects and spaces is only the beginning. Giving actors new ways of expression and interaction while transforming the stage will be the topic of this talk.

Lecture: Marcel Karnapke (CyberRäuber)
Tuesday, 2nd April 2019 at 7 pm
Location: TU Berlin, studio 484, Masterstudiengang Bühnenbild_Szenischer Raum, Ackerstrasse 76, 13355 Berlin
Lecture is held in english, free entry
Link Facebook Event 

Today’s virtual and augmented reality technologies are prone to reshape the future of many different areas and trades first and foremost the entertainment industry. In this talk we are going to look at the lessons learned within the last two years of working on concept and examining ideas that have the potential to enhance and transform the theatre stage by utilizing these novel technologies in unconventional ways. Theatre has in a sense always been about creating artificial worlds through the usage of narrative and visions in the form of varying stage sets to give the audience a notion of presence within the play. Building upon these notions we are going to ask what virtual and augmented reality can bring to the table especially when combined with established stage departments like lights, audio or video projection.

Furthermore we are going to talk about ideas that merge the built physical stage set and transform it with the help of these technologies into a shapeshifting plane of possibilities. Lastly we will look at the implications for the actors as well as the directors. We will ask the question, is it possible to bridge the gap between the complexities of the technology to establish an interface for the non-tech-savvy crowd?

Marcel Karnapke lives in Berlin and is developer, lecturer and co-founder of the artist collective “CyberRäuber”, which realizes new formats and applications for Virtual Reality in a theatre context. For Cambridge University (UK) he has developed virtual museums for the dissemination of archaeological research results. This has also resulted in interactive and narrative 3D formats, such as films and virtual reality applications, through which the viewer can experience a virtual 360° experience. In 2017, in collaboration with Schauspiel Dortmund and directed by Kay Voges, the VR play “Memories of Borderline” was created, which was shown both at the Theatertreffen Berliner Festspiele and at Ars Electronica. His work focuses on 3D reality reconstruction in the field of architecture as well as the digitization of complete stage sets of classical theater. New is the full-body recording of performers from the field of dance and the performing arts in the form of VR holography for VR and AR applications. Marcel is the winner of the 3D Guild Award of the International 3D Summit in Liege, Belgium and in 2017 he won the Halo Award in Gold of the VR Days in the category Best 3D VR Animation Film with “Pitoti Prometheus”.

This lecture is part of the workshop “Im/material theatre spaces” by DTHG e.V. (Deutsche Theatertechnische Gesellschaft) within the framework of the project “Theatre Landscape”, supported by the Federal Government Commissioner for Culture and the Media – in the European “Sharing Heritage” Year.

(c) Photo: CyberRäuber

Lecture: Designing for Experiences – Space, Narrative, Participation

Lecture: Designing for Experiences – Space, Narrative, Participation

The planning of a museum, an exhibition or a heritage site requires multidisciplinary thinking and an approach that incorporates both spatial and time based qualities. Highlighting projects by the studio Duncan McCauley the presentation will give an insight into thoughts regarding narrative, sequential space and participation towards a meaningful and rewarding visitor experience. The projects presented will include among others the new visitor experience at Vischering Castle near Muenster in Germany and the exhibition Diana: Her Fashion Story at Kensington Palace, London.

Date: 16.01.2019 at 7 pm (free entry)
Location: TU Berlin, studio 484, Masterstudiengang Bühnenbild_Szenischer Raum, Ackerstrasse 76, 13355 Berlin
Lecture is held in english

Tom Duncan is an architect and museum designer. He is a founding partner of the studio Duncan McCauley in Berlin specialising in design and planning for museums and heritage sites. Recently completed projects include ‘Diana Her Fashion Story’ at Kensington Palace, London and the exhibition ‘Botticelli Reimagined’ at the Victoria and Albert Museum, London. He combines professional practice with academic research and teaching. His research in the area of master planning for museum and heritage sites focuses on the spatial, strategic and narrative requirements of the museum environment.

Photo: Burg Vischering © Philipp Obkircher





Lecture: Form Follows Fiction – Stefan Nowak 11th december

Lecture: Form Follows Fiction – Stefan Nowak 11th december

Stefan Nowak (scenographer, project manager)

The variety of forms of everyday life today’s products, whether electric kettles, cars or houses, brims above all by arbitrariness. Everything seems possible! The change from the commodity to the consumer product is also in the linguistic usage – The kettle is still cooking, the car drives and the house is habitable, but the lush shape or the cost-optimized floor plan have nothing to do with the actual function, the external context or the user’s ideas to do. Occasionally, every everyday object required an interface, a button, a lever whose operation generates feedback from the user in order to “understand” the function and the object in the truest sense of the word. Now the products themselves become a fiction: nude black, white or silver boxes respond on demand or are controlled centrally and from any distance by a small luminous box. The lecture by Stefan Nowak sheds light on these developments and asks questions about our handling of products, about past design concepts and ideologies and the connections between functionalism and fiction, design and dogma. In the ongoing seminar of the same name in the master’s program, the topic will be deepened and presented to the public in a studio exhibition.

Date: 11.12.2018 at 7 pm (free entry)
Location: TU Berlin, studio 484, Masterstudiengang Bühnenbild_Szenischer Raum, Ackerstrasse 76, 13355 Berlin
Facebook Event

Stefan Nowak studied perfumery and food technology in London and Lemgo. Afterwards he studied Communications Design at the Hochschule Darmstadt with Christof Gassner and Peter Kornatzki and at the Fachhochschule Düsseldorf with Klaus Hesse und Uwe Loesch. Together with Petra Knyrim is Stefan Nowak since 1994 managing director of the design office nowakteufelknyrim (NTK) an office for communication and exhibition design/scenography in Düsseldorf. nowakteufelknyrim stands out for the permanent exhibtion in the Money Museum of the Deutsche Bundesbank Frankfurt, for the Museum of the bathing culture in Zülpich. They also redesigned the photography and film department at Deutsche Museum and are responsible for innovative controlling – and orientation systems for the city Düsseldorf and the library of  the University of Münster. Since 1996 is Stefan Nowak teaching Information design and Scenography at different Universities such as the Universität Wuppertal and the Hochschule Hildesheim (2016). Stefan Nowak especially has become known by workshops and publications on the subject orientation and communication in space.

© Installation “Truck” by Erwin Wurm, 2015

Lecture: Irreal. Real. Egal. – medial stages

With their principle “Irreal.Real.Egal.” Claudia Rohner and Clemens Walter try to design medial stage concepts without visible projection surfaces. Detached from decorative elements, the spectacle suitability of the media stage is in the foreground. Rohner and Walter have been working together in different constellations for many years. Achieving the greatest possible fusion of the scenography and video design disciplines is the goal – if this symbiosis succeeds, media stage spaces with an idiosyncratic stage aesthetic will emerge. Whether and how their attitude flows into the realization and what opportunities and dangers the technically complex equipment in the theater bring with them, they explain on the basis of three selected works. In the process, 2300 meters of LED light strip, thousands of individual modified and built-in LEDs on magnetic plates and a live green screen were used.

Date: 22.11.2018 at 7 pm (free entry)
Location: TU Berlin, studio 484, Masterstudiengang Bühnenbild_Szenischer Raum, Ackerstrasse 76, 13355 Berlin

As a freelance scenographer, Claudia Rohner realized the Museumsnacht in Bern and Expo 02 Switzerland. From 2002 to 2005 she was engaged as a designer at the Deutsches Theater Berlin. She continues to collaborate with director Roger Vontobel (e.g. Deutsches Schauspielhaus Hamburg, Münchner Kammerspiele, Staatsschauspiel Dresden, Schauspielhaus Bochum, Schauspiel Köln, Schauspiel Frankfurt, Théâtre de la Colline Paris, Maxim Gorki Theater Berlin). From 2015 she teaches at the Technical University in Berlin and at the University of Hannover.

Clemens Walter works as a film editor and video artist specializing in theater. Since 2004 he has been producing projections and live videos for plays, working at the Schauspiel Frankfurt, at the Deutsches Theater Berlin and at the Volkstheater in Vienna. Clemens Walter’s theater work includes pre-produced film sequences, animations, live video and 3D projection mapping. He is closely linked to Roger Vontobel. Most recently, he produced the projections for the Worms Nibelungen Festival 2018 for Vontobel, in which the cathedral was for the first time recorded with video.

Photos  © Clemens Walter

Lecture Lila Chitayat “spatial storytelling and how to play with time in space” 23.5.

Lila Chitayat – a multidisciplinary creator, architect, new-media artist and experimental designer in Israel and Germany – examines shifts occuring in the past decades: How do we rethink space and what are its affects on how we read spaces today?
Using our bodies, movement and multiple realities we can play with time, slow it down or open up gaps to experience spaces and tell stories through them. By the extensive use of new technologies, virtual worlds and multiple dimensions we can now shift out to non euclediean geometries, interactivity and non- linear storytelling, triggering us to be in a space, be the space and playfully experience it.

Wednesday, 23 May 2018,  20:00
TU Berlin Bühnenbild_Szenischer Raum, Studio 484, Ackerstrasse 76, 13355 Berlin
Free entry, lecture held in English

Lila is a Senior Lecturer at the Design Faculty of H.I.T Holon Institute of Technology teaching on the Masters program and Interior Design departments. She is the Founder of LinC Studio: A trans-disciplinary design environment involving media and technology to produce a wide range of projects in urban installations, space design, exhibit design and digital architecture for virtual environments worldwide. Her projects include numerous museum exhibition designs, technology-based interactive installations, such as Taxilink (winner of PRIX Ars Electronica 2010), Ideal Virtual Jerusalem for MIC, sensing sound installation and urban interventions. She is currently based in Berlin on a sabbatical year and lives and works in Tel Aviv. Lila received her M.Arch from Columbia University and B.Arch from Pratt Institute and a b.Des at HIT.

© Fotos: Lila Chitayat, Dor Kedmi, Eitan Vitkon

Lecture: Interactive media in performance

Mark Coniglio – Media artist, composer and programmer Mark Coniglio is widely considered to be a pioneering force in the exploration of dance and interactive media. Beginning with Troika Ranch, the media intensive dance company he co-founded with Dawn Stoppiello, and later as the creator of the media software Isadora, he has spent nearly three decades enmeshed in the relationship of movement, media, and computing.

Coniglio’s early dance and technology work – where sensory systems, responsive media software and live performers combined to produce an interactive “reflection” of the body – has evolved into an approach where technology actively intervened in the creation, rehearsal and performance of movement. After reflecting on his past work, he will propose future interventions where artificial intelligence will be placed into conflict with human bodily knowledge, to provoke the invention of new movement, unforeseen structures, and compelling relationships between the body, media and the stage.

The lecture is hold in english.

Tuesday 17th april 2018,  7pm
TU Berlin Bühnenbild_Szenischer Raum, Studio 484, Ackerstrasse 76, 13355 Berlin
free entrance


© photo: Mark Coniglio, A.T.Schaefer

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