阿布紮比盧浮宮開幕式，2017／“Vives réflexions, museum reflections,” multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F
如何慶祝新落成的建築：通過開幕儀式表達
How to Celebrate New Architecture: Shaping Identity with Spectacular Opening Ceremonies
當一個重要建築項目完成之後，客戶都會面臨這樣一個問題，即他們應該以什麽樣的方式來慶祝新建築的落成。其實這也是讓大衆了解這座新建築的好機會，因此，建築的落成儀式往往帶有象征性質，許多人會選擇焰火與燈光表演，這樣能夠展示出建築在當地甚至在全國的地位，我曾經跟兩位設計師對此進行過溝通，他們是Groupe F的創意總監Christophe Berthonneau、Laservision Mega Media的創意總監Fred Thompson，他們分別設計過阿布紮比盧浮宮和新加坡濱海灣金沙酒店的落成儀式。
After finishing a building, the client is faced with an important question: How do they celebrate the new architecture? This moment offers an essential opportunity to inform the public about the existence and mission of the building. Therefore, the designs of opening ceremonies are often loaded with symbolic imagery to construct a new identity. Fireworks and light shows are an especially common part of the powerful repertoire used to magnify the aura of architecture. This luminous storytelling can underline the client’s uniqueness and superiority on both a local level and an international stage. I spoke with two leading designers to get their insights on how opening ceremonies have changed in recent years: Christophe Berthonneau, Creative Director at Groupe F, who introduced the Louvre Abu Dhabi, and Fred Thompson, Creative Director at Laservision Mega Media, who worked on the opening of the Marina Bay Sands in Singapore.
Grand Hall 的音樂廳開幕儀式
落成儀式是新建築的一次重要亮相，也是對當地人們的告知行爲。雖然市面上對于設計的描述主要針對建築專業，但是建築的落成儀式也十分重要。通過焰火表演，即使是小型建築也能展現出氣派感，設計和技術的結合能夠讓客戶感到十分自豪。通過視頻的形式，設計師能夠以更加自然的形式來表述建築的過去、現在與將來。因此，建築落成儀式的燈光表演幾乎已經成爲了一種形式，無論是博物館類的文化作品，還是具有政治性質的公共建築，都能表現出其獨特的建築地位。
The storytelling component of inaugurations serves as an important ritual to inform the public about the motivation and function of the new building. While reports about the design competition mainly stay within the architecture community, the opening often signifies the first visible step towards the public. With nocturnal fireworks, even small structures can benefit from a large show, and size, distinctive design and the incorporation of the latest technology can all demonstrate the client’s pride in their achievements and vision. With video mapping, creative designers have added a more naturalistic form of storytelling, linking the past, present, and future of the architecture. Therefore, light shows during opening ceremonies have turned into a ritual to construct a new identity—either with a cultural focus for museums or with a national political strategy for public buildings.
新加坡濱海灣金沙酒店開幕式，2011／Grand opening of Marina Bay Sands, Singapore, 2011. Design: Laservision Mega Media. Image © Laservision Mega Media
儀式三部曲之魔法、記憶、啓示
有時候，建築的落成表演有點類似于宗教中世俗的生育儀式，客戶們通過各種形式讓建築在人們的心中留下印象，同時也爲自己帶來美好的回憶，但是相比起人們來說，建築是一種靜態的表達，因此，焰火表演和視頻制作讓建築具有動態感。Berthonneau曾經就成功地創造了這些經典過程：“客戶希望能夠將生活、影像、照片三者平衡起來，因此，制作時間刻度、廣播信息、創造記憶都非常重要。因此做好這件事的前提是將三者結合起來，即同時考慮大衆的魅力、難忘的事件，以及建築對于環境的影響。如果我們能創造出完美的畫面，對人們的視覺造成沖擊感，那麽這次的活動就很成功。”
The Trilogy of Enchantment, Memories, and Revelation
In some ways, building openings are like a secular version of birth rituals in religion. Owners festively introduce the new addition to the community and try to maximize viewership with photogenic designs for unforgettable memories. But in contrast to babies who bring their own energy to the ceremony, architecture stays static. Fireworks and video mapping have therefore taken over the role of animating the building. For Berthonneau, successfully creating unique experiences requires three elements: “Clients request the right balance between live, broadcast, and photos. It is necessary to mark time, broadcast information and create memory. The precondition for any event of this type is to work on these three axes at the same time: Enchantment of the public, memorable movement, and revelation of the object in its environment. If the image is successful, it is the aesthetic shock that will take over everything else.”
朱美拉棕榈島 Palm Jumeirah開幕儀式
比起規模，策略更加重要
隨著建築落成儀式的愈發壯觀，設計師們甚至希望某些行爲能夠突破吉尼斯世界紀錄，換句話說，這就是希望媒體能夠多加報道，從而增強建築的知名度。Berthonneau的一大策略就是首先充分研究建築的背景，找到迷人之處與相關元素的平衡點。對于Thompson來說，則一般習慣運用新技術、定制策略，通過設計的方式減小規模，卻讓色彩與形式更加豐富。
Strategies Beyond Size
With increasingly spectacular opening shows it has become a challenge for designers to find alternatives to the quantitative aspirations to enter the Guinness World Records, which clients are tempted to do for widespread media coverage. For Berthonneau one strategy lies in studying the respective context and to find the right balance between enchantment and relevance. For Thompson, the development of new technologies, custom specifications, and improved design are essential in order to provide, for example, larger color palettes and solutions in smaller sizes.
迪拜節日城，2017，阿拉伯聯合酋長國／Lasers, water-screen projections and video mapping projection for IMAGINE at Dubai Festival City, Dubai / UAE, 2017. Design: Laservision Mega Media. Image © Laservision Mega Media
當客戶與觀衆的期望值上升時…
創新性可視化工具、強大的照明系統，以及人機互動行爲在過去的20年裏的應用較爲廣泛。受到國際大賽的影響，觀衆與客戶都更傾向于精彩複雜的娛樂節目，那麽這就在無形中産生了一種更具畫面感的現象，Berthonneau曾經說過：“3D環境、無人機拍攝，以及社交媒體的瞬時性讓人們能夠采用更加抽象與詩意的策略，因爲相比起文字，圖像更能夠給人留下深刻的印象。”軟件工具同樣也激發了人們的想象力，法國設計師解釋說：“現在仍然強大、實用的多媒體工具很利于藝術創作。”將創作效果直接展現出來具有極大的好處，因爲客戶能夠直接看到所呈現出來的3D效果，正如早期的技術排練，Thompson說：“我們能夠在現場，以觀衆視角，通過攝影機和媒體技術爲場外觀衆提供場內信息，同時我們也會考慮這樣的做法是否會影響城市景觀、機場的運營以及軍事設備，然後在程序管理的過程中盡量避開這些問題。”這樣的技術步驟大大提升了管理與溝通的時間，並且這些影響只是從內部人員的角度看到的。
When the Expectations of Clients and Audience Rise
Innovative visualization technology, powerful lighting tools, and communication behavior have played a crucial role in changes to contemporary outdoor light shows in the last 20 years. Spoiled by striking coverage of international events, audiences and clients have demanded more spectacular and sophisticated entertainment. This led unconsciously to a new position for imagery, states Berthonneau: “The 3D environment, the drone shots and the immediacy of social networks allow us to adopt more abstract and poetic strategies because the image takes precedence over the narrative.” Software tools have also sparked the imagination, explains the French designer: “There are now also very powerful, very responsive and affordable multimedia design tools available that are incredibly conducive to artistic creation.” The option to preview a show beforehand is an important benefit of visualization advances, assures Thompson, because clients can see the proposed design in a real 3D environment–long before the technical rehearsal, as was required in earlier times: “(We) are able to provide off-site programming and visualizations to our clients from front of house, audience perspectives, camera rigs or media pit that will be at the venue. We’re also able to account for how it will impact cityscapes, airports, and military facilities and properly address these potential issues in our programming.” This technological step has improved time management and communication, but this affects only the internal organizational view.
迪拜節日之城，2017，阿拉伯聯合酋長國／Lasers, water-screen projections and video mapping projection for IMAGINE at Dubai Festival City, Dubai / UAE, 2017. Design: Laservision Mega Media. Image © Laservision Mega Media
創新性是身份的象征
對于觀衆來說，在全新交流機會中運用最新技術的標志性力量是一件非常重要的事，展覽中的奇幻燈光會給客戶帶來一定的未來感，同時帶來身份的象征。Thompson總結說：“燈光設備應當明亮、快速、多變。將投影映射到周邊環境之中能夠産生更多的創新主題，彩色激光的強度與廣度也會變得更大和更有效。”另外，舞台和觀衆之間的社會關系也體現了當代通信和數字化領導的一大願景，改變想法、開啓全新的互動機會則顯得至關重要，正如Thompson所說：“整個行業正在努力擺脫傳統的方盒子限制，這種傳統模式將觀衆與表演分隔開，更加注重效果的表達，而燈光視覺藝術則是利用社交媒體來推動燈光與表達效果之間的關系，讓觀衆成爲表演的一部分，並且各種社交媒介也會參與其中。”
Innovation as a Symbolic of Identity
For the audience, the symbolic power of using the latest technologies during the event in connection with new communication opportunities are much more important. Considering fancy light equipment in shows conveys the client’s sense of the future and a creates a cutting-edge identity. Thompson summarizes the most relevant changes: “Lighting is brighter, faster, more responsive. Integration of Projection mapping onto iconic buildings and surroundings allow for more creative theming and storytelling. Laser color spectrums and intensity have grown larger and more efficient.” In addition, the social relation between stage and audience embodies the desire for contemporary communication and digital leadership. Changing the perspective and opening new opportunities for interaction are essential, as Thompson explains: “The industry is trying to do away with the classical fourth wall that separates the audience from the show and instead is focusing in making entertainment even more immersive. Laservision is harnessing the power of social media to drive relevant theming in video and lighting, making the audience a part of the production with images, tweets and video live-streaming across projection mapped surfaces.”
阿布紮比盧浮宮開幕式，2017／“Vives réflexions, museum reflections,” multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F
通過投影映射的方式開闊空間
焰火的表演形式數十年來一直是各大節日的主題，那麽最近有一個全新的視覺元素悄然興起，那便是投影映射。高分辨率的圖像和序列表達讓人們接收到更多自然的表演方式。高層建築的早期投影曆史能夠追溯到上世紀90年代，例如在法國大革命200周年的慶祝典禮中Jean Michel Jarre的表演。Berthonneau很高興的是這種技術在當今社會運用得更加廣泛：“投影工具非常強大，人們將其與周圍環境相結合，燈光具有靈活性，但同時也有瞬時性，更具有象征代表性。一次完美的焰火運用需要同時考慮光線密度與畫面的構圖。”投影映射的主要優勢則在于空間的維度，Thompson解釋說：“通過投影映射的方式我們能夠大量運用曾經的‘死角’空間，例如那些曾經非常擁擠的街區。在現代，越來越多的活動盛典都在挖掘那些潛在的場所，因此我們發現投影映射的方式在這個方面很具競爭力，雖然傳統經典的燈光、焰火能夠吸引人們的眼球，但是我們的方式能夠將這種象征性的畫面投射到建築群、柱列、商店、餐廳之中，利用每一個細部空間，讓觀衆具有360度全方位體驗。”
Opening Spaces with Projection Mapping
Whereas the graphical patterns of pyrotechnics have dominated the imagery of festive evening events for decades, recently a new visual element has rapidly spread: Projection mapping. High-resolution images and sequences enable more naturalistic figures and thereby more nuanced narratives. Early projections on tall buildings go back to the 1990s, such as in the celebration of the 200th anniversary of the French Revolution with the Jean Michel Jarre’s concert at La Defense in Paris. Berthonneau is very pleased that the technology is much more widely available today: “The tools of projection are now very powerful, they favor the creation of content referring to contexts, the light is alive, fragile and always symbolizes a time of exception. A great mastery of pyrotechnics is needed to combine light densities and produce balanced images.” The major advantage of projection mapping lies in the spatial dimension, explains Thompson: “With projection mapping we’re able to use a lot more of the “dead-space” that was previously found in crowded venues. As more and more events are competing for usable creative space, we’ve found projection mapping to be very useful in opening up the space. While classic lighting, lasers, flames, and fireworks cover a large portion of the main audience view, we are able to spread that creative space onto tall buildings, columns, retail and restaurants—using every bit of space available to wow the audience and give a truly 360-degree experience.”
伊斯蘭藝術博物館開幕式多媒體展，卡塔爾，2008／Multimedia show for the inauguration of the Museum of Islamic Art, Qatar, 2008. Design: Groupe F. Image © T. Nava, Groupe F
大型建築的發展趨勢
儀式本身很重要。因此，即使是開放性建築也不會抗拒與傳統曆史的聯系。但是新結構建築的出現則促使人們構思新的理念，Berthonneau說：“這始終是傳統與驚喜的結合，人們需要洗禮”、揭示、慶典與開放，這個主題非常重要。因此我們應該站在巨人的肩膀上，結合已知技術，一步一步地發掘更多可能性。”而至于迷人的新技術，其參照點應當是建築本身，Thompson設想過未來發展趨勢：“投影映射和精致的LED屏幕絕對是燈光表演的焦點，除了這些世界級的表演，以及作爲載體的巨型建築，將建築與作品相結合不僅僅是一個重要因素，還能爲慶典活動增添一大亮點。還有什麽方式比將建築自身作爲視覺中心更具吸引力呢？”
近期首爾冬季奧運會的開幕式預示著另一個趨勢，燈光的表演不再局限于傳統建築表面的數字組合，而是逐漸拓展到天空領域，這其中運用了飛行燈光像素技術。LED像素結合無人機技術給觀衆帶來了浩瀚星空般前所未有的體驗。
Spotting Trends for Mega-Buildings
Rituals are bound, per se, to tradition. Therefore, even the secular act of opening buildings will not abandon a link to conventions and history. But the emergence of new structures also requires novel perspectives with careful action, clarifies Berthonneau: “It will always be a mixture between tradition and surprise. It is necessary to ‘baptize,’ reveal, celebrate and open up… the topics are always important. It is therefore necessary to mix known techniques and to explore the possibilities without ever forgetting that failure is not allowed.” Next to fascinating technologies, the point of reference should certainly be the building itself, underlines Thompson when he envisions future trends: “Projection-mapping and intricate LED surfaces are definitely the big focus for Laservision. In addition to world-class fountain shows and productions in the space around these mega-structures, incorporating the structure itself into the production is not only a big wow factor, but it can add an entirely new dimension to the celebrations. What better way to celebrate the grand opening of such a large-scale project and achievement than with the monument or structure itself as the centerpiece?”
The recent opening ceremony for the Winter Olympic Games in Seoul indicates another trend. Luminous storytelling will no longer limit itself to controlled digital pixels on building surfaces but will take possession of another sphere: the sky, using flying light pixels. LED pixels combined with drone swarm technology amaze the audience with the impression of smart controlled stars.
1218架無人機!平昌冬奧會開幕式創無人機表演 by intel
觀衆能夠實時接收信息
爲了減少觀衆和建築之間的距離感，建築在開幕儀式上的第一次亮相非常重要。這不僅僅意味著官方媒介會給出正面的敘述，同時人們還可以通過上傳照片與視頻來表達自己的觀點，另外，人們也可以以此作爲自己的生活記錄。這些主觀的影響同時也能夠與這場表演相結合，作爲與觀衆之間的交流與溝通。Thompson發現：“燈光設計曾經只是爲了看上去酷炫一些，並且讓觀衆將照片、視頻通過社交媒體發布，作爲一種紀念意義。而現在，我們正在努力吸引社交媒體觀衆，並且將他們的經驗與設計成果相結合。評論、視頻、照片具有瞬時表達的意義，這不僅僅增加了人們對于設計成果的享受程度，同時也是對觀衆和他們朋友圈社交成果‘逼格’的一種提升，因爲這樣你可以與整個世界分享你的創新成果。”
Empower the Audience in Real-Time
In order to close the gap between the audience and architecture, which meet for the first time in these opening ceremonies, the idea of participation is crucial. This means not only seeing and “liking” posts on official media channels, but also the promotion of the personal perspective, through uploaded photos and videos that allow the audience to proudly inform their followers that they attend the ceremony live. These subjective views can also be integrated into the performance to create the impression of a dialog. This change from passive reaction to empowering the audience increases communication, finds Thompson: “It used to be, not long ago, that lighting design was just to look amazing and capture as many shares, likes, tweets and links from the videos and photos generated at the event from Social Media. Today, we are engaging social media audiences and allowing them to contribute to the experience and take ownership of the production. Comments, Video, Photos can be streamed real-time into the performance. This ownership not only adds to the enjoyment of the show, but also boosts social media metrics as audiences and their friend networks are more likely to share your creation with the world if they are involved with it.”
Dubai festival city 迪拜節日之城開幕儀式
阿布紮比盧浮宮開幕式，2017／“Vives réflexions, museum reflections,” multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F
阿布紮比盧浮宮開幕式，2017／“Vives réflexions, museum reflections,” multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F
阿布紮比盧浮宮開幕式，2017／“Vives réflexions, museum reflections,” multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F
阿布紮比盧浮宮開幕式，2017／“Vives réflexions, museum reflections,” multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F
阿布紮比盧浮宮開幕式，2017／“Vives réflexions, museum reflections,” multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F
阿布紮比盧浮宮開幕式，2017／“Vives réflexions, museum reflections,” multimedia and pyrotechnic show for the grand opening of Louvre Abu Dhabi, Abu Dhabi 2017. Artistic direction: Christophe Berthonneau, Groupe F. Image © N. Chavance, Groupe F
韓國首爾樂天世界大廈開幕式，2017／Grand opening at Lotte World Tower, Seoul / South Korea, 2017. Design: Groupe F. Image © N. Chavance, Groupe F
韓國首爾樂天世界大廈開幕式，2017／Grand opening at Lotte World Tower, Seoul / South Korea, 2017. Design: Groupe F. Image © N. Chavance, Groupe F
左：迪拜哈利法塔開幕式，2010，阿拉伯聯合酋長國／Inauguration of Burj Khalifa, Dubai / UAE, 2010. Design: Groupe F. Image © T. Nava, Groupe F
右：希臘Rion-Antirion大橋開幕式，2004，帕特雷／Inauguration of Rion-Antirion Bridge, Patras / Greece, 2004. Design: Groupe F. Image © T. Nava, Groupe F
迪拜節日之城，2017，阿拉伯聯合酋長國／Lasers, water-screen projections and video mapping projection for IMAGINE at Dubai Festival City, Dubai / UAE, 2017. Design: Laservision Mega Media. Image © Laservision Mega Media
迪拜節日之城，2017，阿拉伯聯合酋長國／Lasers, water-screen projections and video mapping projection for IMAGINE at Dubai Festival City, Dubai / UAE, 2017. Design: Laservision Mega Media. Image © Laservision Mega Media
德國漢堡的易北愛樂音樂廳開幕式，2017，赫爾佐格與德梅隆／Grand opening of Elbphilharmonie, Hamburg / Germany, 2017. Architecture: Herzog & de Meuron. Concept: Jung von Matt and gestalt communications. Image © Ralph Larmann
德國漢堡的易北愛樂音樂廳開幕式，2017，赫爾佐格與德梅隆／Grand opening of Elbphilharmonie, Hamburg / Germany, 2017. Architecture: Herzog & de Meuron. Concept: Jung von Matt and gestalt communications. Image © Ralph Larmann
德國漢堡的易北愛樂音樂廳開幕式，2017，赫爾佐格與德梅隆／Grand opening of Elbphilharmonie, Hamburg / Germany, 2017. Architecture: Herzog & de Meuron. Concept: Jung von Matt and gestalt communications. Image © Ralph Larmann
作者簡介：
“Light matters”是關于“光和空間”的一個專欄，本文作者是德國博士Thomas Schielke。他熱衷于建築燈光設計，並且是照明公司ERCO的編輯，同時他發表過許多文章，也合著過多部著作，其中有《光視角》、《SuperLux》。
Light matters, a column on light and space, is written by Dr. Thomas Schielke. Based in Germany, he is fascinated by architectural lighting and works as an editor for the lighting company ERCO. He has published numerous articles and co-authored the books “Light Perspectives” and “SuperLux”.
由專築網李韌，曹逸希編譯
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