POST
Our participation in the Japan MeCA Festival at the Goethe-Institut Tokyo offered more than just a presentation opportunity — it became a journey of spatial and cultural discovery. Outside the formal program, Richard Oeckel and I (Moritz Richartz) took the chance to visit a number of unique places in Tokyo that deeply resonated with our artistic practice in media design and projection mapping.
From the subtle precision of Zen gardens to the layered chaos of Shibuya, Tokyo is a city where light, structure, and perception constantly shift. Among the highlights was a visit to teamLab Planets, where immersion and interaction are pushed to their limits in a multisensory, responsive environment. This experience reconnected us with core ideas behind interactive mapping and augmented space — not as technical challenges, but as poetic systems of presence.
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We also explored Daikanyama T-Site, a masterfully curated architectural space where media, print, and material design converge. The modularity and visual rhythm of the site sparked new thoughts about projection surfaces as curated interfaces rather than passive backdrops.
A quiet walk through the Meiji Shrine forest offered yet another kind of inspiration — an architectural void defined by its absence of light and noise. These natural and urban contrasts continue to inform our understanding of organic sculpture mapping, reminding us that spatial storytelling must always respond to the texture and rhythm of its environment.
Tokyo doesn’t present space — it performs it. And during our stay, this performance became both a backdrop and a catalyst for reflecting on the future of site-specific media art.