Of course – space can never NOT communicate: This has always been true for “normal” architecture and interior design. But the atmospheric, suggestive and narrative potential of design has been used to a very special degree for centuries in rooms whose main function is to support narratives: In the theatre (as stage design), later in film and television (set design), for some time now in game design and other forms of narrative communication. What used to be “set design” has been “concept art” since the development of product design in the film industry.
However, the special consciously adopted scenographic perspective is no longer limited to traditional theatrical or narrative forms of communication. In museum and exhibition culture, trade fair design, hotel and catering design, retail design and brand design, design is increasingly going beyond previously defined utility functions and unfolds powerful atmospheric communication and experience spaces whose visual and sensual density can and should fascinate.
Scenography is therefore at the forefront when it comes to a holistic, i.e. also emotional, view of the interaction between people and their spatial environment. Supported by the “spatial turn” of cultural and social sciences, scenography also always examines space as a construct and mirror of social relationships.