Richard Koeck is trained and practised in architecture and filmmaking in Germany, the United States and the United Kingdom. He is a graduate of the University of Cambridge and has worked on several national and international research projects. At a departmental level, Richard is working as Professor and Chair in Architecture and the Visual Arts in the School of Architecture, where he leads the first year of the Masters Programme (RIBA). He is also Director of the Centre of Architecture and the Visual Arts (CAVA) and Research and Knowledge Exchange Lead of the School of the Arts. Richard is founding director of the Liverpool-based production company CineTecture Ltd.
Professor Richard Koeck, Pete Woodbridge and other colleagues from the Centre of Architecture and... more Professor Richard Koeck, Pete Woodbridge and other colleagues from the Centre of Architecture and the Visual Arts (CAVA) have collaborated with Culture Liverpool, Immersive Storylab, Liverpool Institute of Performing Arts, CineTecture and Draw & Code to develop a ground-breaking participatory and immersive mixed reality experience. The team created an immersive mixed reality experience, combining 3D projection mapping, Virtual Reality, Augmented Reality and Live Performances that produces an entirely new kind of digital visitor experience. But more than that, with the support of Microsoft's Mixed Reality team in the US, the CAVA team created the world's first volumetrically filmed (3D holograms) UNESCO heritage experience using Microsoft's HoloLens system
Introduction Part 1: Film, Mind and Body 1. Tectonics of Film Space 2. City in our Mind 3. Existe... more Introduction Part 1: Film, Mind and Body 1. Tectonics of Film Space 2. City in our Mind 3. Existential and Experiential Notions of Space Part 2: Cinema, Architecture and the Everyday 4. Spatial Editing 5. A Shared Space 6. Architecture and Urban Form as Cinematic Apparatus Part 3: Urbanity and Image 7. Urban Product Advertisement 8. Place Marketing: Urban Architecture as Image 9. Film Advertisement and Urban Spaces Conclusion: The Near Future of Cinescapes
As historians such as Albrecht (2000), Weihsmann (1988, 1995), Neumann (1996) and others have rep... more As historians such as Albrecht (2000), Weihsmann (1988, 1995), Neumann (1996) and others have repeatedly claimed, the number of prominent architects, particularly in Germany and France, who have engaged with film productions from the 1920s onwards suggests a longstanding ‘applied’ reciprocity between the disciplines of architecture and film. Examples include the German architect, Hans Poelzig, who built the set for Carl Boese’s and Paul Wegener’s expressionist film classic, Der Golem, wie er in die Welt kam (1920). Robert Mallet-Stevens, one of the pioneers of French architectural modernism, claimed that although film has a distinct influence on modern architecture, it also shares filmic properties since both essentially consist of ‘images in movement’ (Mallet-Stevens, 1925: 96).
An important theme in place marketing, branding, and architectural literature – and practice – is... more An important theme in place marketing, branding, and architectural literature – and practice – is the development of a strong, attractive image, through (primarily) visual representation of a location. But considering that today we live in cities that are digital hybrids, in which we are connected to a wider system of information, how is an ‘image of the city’ constructed in this context, and are there other strategies and tactics that should be considered?Using Plato’s notion ofchoraand Claudius Ptolemy's notion ofchorographyas points of departure that will lead us to consider de Certeau's (1984) concept of walking as an experiential and dialectic process through which we relate thespatial storiesof places and, in the context of digital locative media, we will point to ways by which this may be accomplished. In introducing the reader to the concept of ‘digital chorographies’, we suggest that a current emphasis on visual representation (e.g. of attractive place ‘product’ ele...
Professor Richard Koeck, Pete Woodbridge and other colleagues from the Centre of Architecture and... more Professor Richard Koeck, Pete Woodbridge and other colleagues from the Centre of Architecture and the Visual Arts (CAVA) have collaborated with Culture Liverpool, Immersive Storylab, Liverpool Institute of Performing Arts, CineTecture and Draw & Code to develop a ground-breaking participatory and immersive mixed reality experience. The team created an immersive mixed reality experience, combining 3D projection mapping, Virtual Reality, Augmented Reality and Live Performances that produces an entirely new kind of digital visitor experience. But more than that, with the support of Microsoft's Mixed Reality team in the US, the CAVA team created the world's first volumetrically filmed (3D holograms) UNESCO heritage experience using Microsoft's HoloLens system
Introduction Part 1: Film, Mind and Body 1. Tectonics of Film Space 2. City in our Mind 3. Existe... more Introduction Part 1: Film, Mind and Body 1. Tectonics of Film Space 2. City in our Mind 3. Existential and Experiential Notions of Space Part 2: Cinema, Architecture and the Everyday 4. Spatial Editing 5. A Shared Space 6. Architecture and Urban Form as Cinematic Apparatus Part 3: Urbanity and Image 7. Urban Product Advertisement 8. Place Marketing: Urban Architecture as Image 9. Film Advertisement and Urban Spaces Conclusion: The Near Future of Cinescapes
As historians such as Albrecht (2000), Weihsmann (1988, 1995), Neumann (1996) and others have rep... more As historians such as Albrecht (2000), Weihsmann (1988, 1995), Neumann (1996) and others have repeatedly claimed, the number of prominent architects, particularly in Germany and France, who have engaged with film productions from the 1920s onwards suggests a longstanding ‘applied’ reciprocity between the disciplines of architecture and film. Examples include the German architect, Hans Poelzig, who built the set for Carl Boese’s and Paul Wegener’s expressionist film classic, Der Golem, wie er in die Welt kam (1920). Robert Mallet-Stevens, one of the pioneers of French architectural modernism, claimed that although film has a distinct influence on modern architecture, it also shares filmic properties since both essentially consist of ‘images in movement’ (Mallet-Stevens, 1925: 96).
An important theme in place marketing, branding, and architectural literature – and practice – is... more An important theme in place marketing, branding, and architectural literature – and practice – is the development of a strong, attractive image, through (primarily) visual representation of a location. But considering that today we live in cities that are digital hybrids, in which we are connected to a wider system of information, how is an ‘image of the city’ constructed in this context, and are there other strategies and tactics that should be considered?Using Plato’s notion ofchoraand Claudius Ptolemy's notion ofchorographyas points of departure that will lead us to consider de Certeau's (1984) concept of walking as an experiential and dialectic process through which we relate thespatial storiesof places and, in the context of digital locative media, we will point to ways by which this may be accomplished. In introducing the reader to the concept of ‘digital chorographies’, we suggest that a current emphasis on visual representation (e.g. of attractive place ‘product’ ele...
Nous vivons aujourd'hui parmi les écrans, voilà un constat désormais évident. Surfaces de communi... more Nous vivons aujourd'hui parmi les écrans, voilà un constat désormais évident. Surfaces de communication, de monstration et de projection, ces écrans conditionnent foncièrement notre rapport au monde et nous ne pouvons donc plus en faire abstraction. Car nous ne vivons pas seulement au milieu des écrans, mais encore par ceux-ci, à travers eux. Plus que jamais, nos vies sont sous leur condition : il devient donc urgent de cerner quelques constantes d'une telle condition. Réunissant quelques-uns des plus éminents spécialistes internatio-naux, venant aussi bien du champ de la philosophie que des études sur le cinéma, les médias, le design et l'architecture, ce volume dégage les grandes lignes d'une question située au coeur de notre condition contemporaine.
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