checkpointmedia GmbH

In 2001 a network of people who had been working with multimedia for many years decided to join forces and found their own company – checkpointmedia. In autumn of the same year, they moved into their new office in the Haus der Musik, 1010 Vienna. As one of the most successful representatives of "Creative Industries Vienna/Austria," checkpointmedia acts as an interface between arts/culture and the business world. Apart from the three founders and managing directors, Stefan Reiter, Stefan Unger and Virgil Widrich, the firm now consists of a large network of project partners. Since 2015 the company is named "checkpointmedia GmbH" and is located in Seilerstätte 13, 1010 Vienna, Austria.
Exhibition, checkpointmedia, 2018

Sound of Music World Salzburg

At the heart of the "Sound of Music World" are the central stations in the life of the Trapp family. In the history of the well-known singing family, events, changes, continuities and disruptions in Austria are united in the first half of the 20th century.
The exhibition is devoted to three major thematic blocks – the family history, the history of Villa Trapp, which was used by Heinrich Himmler as "Feldkommandostelle Bergwald", among others, and a confrontation between film and reality.
One focus is on the person of Georg von Trapp, captain of the corvette, author and today representative of the defunct Austro-Hungarian monarchy. After the family lost most of its assets in the course of the economic crisis, the family Trapp began to appear publicly as a choir out of necessity in 1936. During this time, for instance, they sang for the Austrofascist Chancellor Schuschnigg as well as for the Italian dictator Mussolini or Pope Pius XI. After the "Anschluss" in 1938, the family planned to leave Nazi-Austria. The exhibition explores the individual stages of migration until the Trapp family finally set foot in the USA.
Lastly, the cinematic reality depicted in the Robert Wise film "The Sound of Music" is juxtaposed with the reception, the "movie reality" and Austrian contemporary history in 10 viewpoints.
Due to the wide range of topics, the "Sound of Music World" offers information in addition to the current family history linked to the commercialism of film and musical. From the very beginning, the exhibition was designed in such a way that not only sound-of-music enthusiasts, but also people from Salzburg can enjoy something interesting.
Multimedia, checkpointmedia, 2017

Bankhaus Spängler display window collage

Design and implementation of a faceted display window collage

Bankhaus Spängler, founded in 1828 and still family-owned, is an independent private bank with its head office in Salzburg and branches in ten other locations. checkpointmedia developed the prototype for an innovative display window for the historic headquarters in Schwarzstraße, Salzburg.
A case that can be illuminated from the rear contains a faceted structure consisting of translucent Plexiglass sheets on which printed film is stuck. These feature a collage of images from the bank’s long history that come from the firm’s in-house archives.
Each of the 20 cells can be illuminated separately using RGBW LED lamps in any combination of colours. Judicious colour selection allows a single printed image to appear as two, for instance by using green lighting to eliminate the green print while the red is accentuated all the more. In this way, changing the lighting can produce the effect of slowly-shifting iridescence across the images.
A 55-inch monitor rounds off the visual display with a corresponding animated film. The brightness of the lighting and the monitor changes to match the time of day. The images – both on the film covering the Plexiglass sheets and the animated film – can be changed to reflect the changing seasons and modified for years to come.
Exhibition, Stage, checkpointmedia, 2017

70 Years of the Marshall Plan

Design and implementation of the anniversary event

On 5 June 1947 George Marshall made a speech in Harvard that changed the world: with it, the American Secretary of State and adviser to President Truman laid the foundations of the European Recovery Program (ERP). The so-called Marshall Plan became the most successful political project in American and European history. Between 1948 and 1952, 14 billion dollars, funded by the American taxpayer, was paid into the reconstruction programme for Europe. Austria’s economy continues to benefit from these funds to this day, which are used to promote innovative projects by Austrian companies and start-ups under a scheme for ERP loans granted by the Austria Wirtschaftsservice GmbH (aws).
The festivities marking the 70th anniversary of Marshall Plan aid, with speeches by Austrian President Alexander Van der Bellen, Vice-Chancellor Wolfgang Brandstetter and the  Chargé d’Affaires a.i. of the US Embassy in Vienna, Eugene S. Young, demonstrate this connection between the past and the future.
“70 projections for 70 years”: Under the artistic direction of Virgil Widrich, a multi-disciplinary team designed the event on 21. June 2017 at METAStadt Vienna and a travelling exhibition for the Austria Wirtschaftsservice Gesellschaft mbH (ERP Fund).
Exhibition, checkpointmedia, 2016

Figaro Parallelo

The large-scale media installation "Figaro Parallelo" allows a comparison of recent productions of "The Marriage of Figaro": Salzburger Festspiele (2006), Opernhaus Zürich (2007), Gran Teatro La Fenice di Venezia (2011), Festival d’Aix-en-Provence (2012), Wiener Staatsoper (2013), The Metropolitan Opera New York (2014) and Royal Opera House Covent Garden (2015). In the centre are the historical Figaro as a starting point and mirror projection in a model stage inspired by the 2011 production at the Gran Teatro La Fenice di Venezia.
Exhibition, checkpointmedia, 2015

"Parallaxis" – Media installation for the exhibition "A Rush of Color" at the Leopold Museum

For the exhibition "A Rush of Color – Masterpieces of German Expressionism" (9 October 2015 - 11 January 2016 at the Leopold Museum) Virgil Widrich designed a media installation consisting of a disc, 3 rings and a projection with shifting perspectives.
Exhibition, checkpointmedia, 2014

Funeral Museum at Vienna Central Cemetery

Following a bidding procedure involving several stages, the consortium of checkpointmedia Multimediaproduktionen AG / OMS Objektmanagement Service GmbH was commissioned in June 2013 as sole contractor for the design, construction and furnishing of the new museum.

The architect Gustav Pichelmann created a museum entrance via a ramp placed laterally to the main steps and at a slight angle and running counter to the existing ramp, and via a flight of stairs, both of which are marked by tall, light-coloured steles. The ramp is bordered by concrete and natural stone blocks which emphasise the nearly 30-metre-long "way down". The construction makes a clear statement without impinging on the historical building in any way.

The museum is set at a level half a metre above the original historical basement floor. A catwalk leads off from the foyer into the museum itself, guiding visitors through the exhibition above floor level and enabling them to view exhibits, display cases and media stations from this vantage point. While the room itself remains darkened, the exhibits and display cases are illuminated by white light and the catwalk is bathed in a warm yellowish light.

Museum Concept
Here, visitors follow the various stages of bereavement in the narrative section: died – mourned – borne – buried – remembered.

Over 250 original artefacts, plus visual material from the archives of the Vienna undertaking services and cemeteries, are on display in the museum, many of them for the first time. They include an original fourgon (a coach used as a hearse) from the turn of the twentieth century. Numerous uniforms, from the elaborate livery based on Spanish courtly ceremonies to today's simple gown, are on show. A stiletto for pricking the heart and an alarm for ringing if the "deceased" wakes up again are bizarre relics of a time when the fear of being buried alive was widespread. A reusable coffin dating from 1784, the period of Joseph II, gives visitors an idea of how Mozart was buried. A bill issued by the imperial court for the repatriation and burial of Franz Ferdinand and his wife following their assassination in Sarajevo is exhibited as a truly historical document.

On thirteen monitors, videos play, most of which consist of material that has never been shown before. These include excerpts from the Austrian Film Archive, with recently discovered and restored footage of the funeral of Franz Joseph I and the sumptuous funeral procession for Albert Baron Rothschild. The videos complement the exhibits and place them in the context of the period they originate from.

A video installation consisting of audiovisual elements and real objects presents notices of death from various centuries. From the wife of a house-owner to Ernst Haeussermann, former director of the Burgtheater, the grief that follows a person's death has never changed, although the way this grief is expressed has.

Two historical peep shows present the various classes of funerals in the style of the time. A three-dimensional display made up of elements of a stage set, lighting moods and 3D video fade-ins presents the splendour of the resting in repose of members of high society around the turn of the twentieth century – and how it contrasts with the funerals of lesser mortals.

On an audio station, visitors can listen to the songs that are currently most popular at funerals.

The museum has a total floor area of a little over 500m², of which 300m² are taken up by the permanent exhibition. Approximately 16 tons of melted asphalt, 130m³ of concrete and 15km of cable were used, while 3km of ducts for ventilation, heating and water were installed. Every hour around 3600m³ of air is circulated in order to maintain an appropriate atmosphere for the historical exhibits, some of which are delicate. The time that elapsed between the submissions and the commissioning was 395 days in total, and the building costs amounted to roughly €2.5 million. Installing a state-of-the-art museum in the basement of a historical building presented a particular challenge, entailing as it did the instalment of an enormous amount of technical equipment in such a way that it remains hidden and the restoration of the existing inventory.

The Wiener Bestattungsmuseum (Vienna Funeral Museum) at the Zentralfriedhof (Central Cemetery) not only provides information about the culture of funerals and cemeteries in Vienna through its original artefacts and historical images but also showcases the idiosyncratic way the Viennese have of dealing with death. Its location, at Europe's second-biggest cemetery, the Vienna Zentralfriedhof, also provides an incentive to take a tour round the Cemetery afterwards.
checkpointmedia, 2014

Silhouette International – Film to mark 50th anniversary

An almost 3-minute animated film marks the 50th anniversary of Silhouette International Schmied AG, whisking the viewer on a rousing journey through the history of the world’s leading brand in light eyewear. The film depicts each decadal chapter in the company’s history using a unique graphic style.

The 1960s: the largely French-influenced fashion of the time led to the internationally catchy name, Silhouette, being chosen at the launch of this Austrian, family-owned company. The prevailing lifestyle of consumption swiftly led to the worldwide export of the eyewear. 

The 1970s were epitomised by a new feeling of freedom: ‘love, peace and music’ was the maxim of the day. The motto "think pink", take it easy, inspired the creation of the first rimless frames – a concept that would become Silhouette’s core competence.

1980s fashion was characterised by a boom in fitness clothing, whilst masculine looking  eyewear was designed to summon more respect and space for a woman. "Enlightenment" was provided with new materials such as the SPX plastic, specially developed by Silhouette for its eyewear.

The 1990s saw Silhouette creating eyewear decor with African wild animal patterns, transforming puristic spectacles by providing them with never-before-seen lightness and technical perfection, and finally launching a technological masterpiece onto the market with the first Titan Minimal Art eyewear.

In the 2000s, Titan Minimal Art was launched into outer space on 35 separate NASA missions and since the end of the decade the barely felt, hingeless and rimless eyewear has graced modern faces on the Earth too.
Exhibition, checkpointmedia, 2013

Experimenta Heilbronn – Music workshop

checkpointmedia develops and installs a new music workshop with three studios for experimenta Heilbronn.

The workshop provides children and grown-ups with the chance to form their own bands and create their own songs in five different musical styles. Visitors can arrange and compose new songs by choosing from a wide variety of preset bars (sequences of notes, sounds), which can be used in individual song sections depending on the style and instruments selected.

After the visit, the songs are available as a score and can also be downloaded as audio files via a link. All the songs are stored in a database, allowing visitors to listen to and rate any song they wish on the “jukebox”.

The task facing checkpointmedia was to make work with music and the development of songs accessible to people with no musical knowledge. The experience is made complete by the creation of a studio atmosphere with soundproofed walls, high-end audio equipment and user interfaces based on professional audio software.

Visitors are greeted at the studio terminals and begin by picking up their audio equipment which consists of headphones, controller, cable and instrument connector. Songs can be composed alone, with the aid of the computer or with a band of up to four members. The music workshop’s mascot, the little rock star, accompanies visitors throughout the workshop, offering tips, explaining procedures and recommending ways of developing the song arrangement and structure.

For each musical style, four instruments are available which correspond to a complete band’s line-up. The musical styles resemble those of well-known groups and artists from the international charts.

The equipment is wired up to the studios, the software providing live feedback via every connector. Instructions are entered on a touch screen and by means of a controller specially developed by checkpointmedia. The controller is used to program and listen back to instrument tracks. Thousands of variations are available for use in any combination. As soon as they are selected on the screen, the variations are displayed as musical notation. All the variations are available as MIDI files, which allow the appropriate instrument sound to be produced in real time by means of a sample database.
Exhibition, checkpointmedia, 2012

Museum of Natural History Vienna – The Meteorite Gallery

As one of the world’s foremost museums of natural history, the Natural History Museum Vienna looks after 30 million artefacts and specimens that form the basis of extensive scientific research. Its oldest collections date back over 250 years.

For the reopening of the world’s largest and oldest collection of meteorites on 14 November 2012, the vast collection of extraordinary exhibits is expanded by the skilful inclusion of media stations, interactive hands-on stations and animations.

In partnership with the curators of the Natural History Museum Vienna and a team of architects from Arno Grünberger/Spurwien, checkpointmedia has developed a contemporary form of knowledge transfer.

Specific aspects of general meteorite research and the unique Vienna collection, in particular, are introduced to visitors in informative video clips that contain a wealth of images. A hands-on station allows visitors to interactively control the extent of potential devastation that a meteorite impact could cause to Vienna, while an animated presentation of the birth of the solar system is guaranteed to amaze.

Particularly interesting exhibits can be studied in detail through a magnifying glass which provides additional information on a screen. In an interactive quiz, visitors are invited to guess whether a particular meteorite or stone pattern emanated from the skies or originated on Earth.
Exhibition, checkpointmedia, 2012

Erste-Campus-Schauplatz – Visitor centre for Erste Group’s new headquarters

The future headquarters of the Erste Group – the Erste Campus – is brought to life for the benefit of staff and visitors through a multimedia exhibition in Vienna.

In the middle of Vienna’s new district "Quartier Belvedere", Erste Group is building its new headquarters, due for completion in 2016, on the site of the former Südbahnhof railway station. With this extensive project, Erste Group presents itself as an innovative and visionary corporation: the highly accessible location next to the new central railway station and the open architectural design create, not least as a result of shorter access routes and optimal communication channels, a living and working environment that is unmistakably geared towards the future. The Erste Campus will be a meeting place and a source of motivation and inspiration for staff and customers alike.

The visitor centre "Erste-Campus-Schauplatz" arouses curiosity and stimulates interest: even before the construction is completed, visitors can view, experience and discover the new headquarters. Why did Erste Group choose this site? How will this modern co-working space influence staff and customers? And what role does the open-plan architecture of the Erste Campus play?

The exhibition room invokes through a curving white wall the biomorphic form of the four building complexes that make up the Erste Campus. Large captions serve as a graphic signage system, while text passages, facts and figures as well as renderings and design plans provide information about key topics.

The directors of Erste Bank discuss the project in video clips, and the architects, Henke Schreieck, explain the design concept of this urban landscape. Multimedia presentations illustrate the development of the Erste Campus: a multimedia model enables visitors to undertake a virtual exploration of the building, interactively directing the building work completed so far. An animated artist’s impression reveals how the appearance of the Erste Campus will change with the seasons.
Publication, checkpointmedia, 2011

Presentation and new Media – 10 Years checkpointmedia: concepts, paths, visions

Since 2001, the Vienna-based company checkpointmedia has produced multimedia Gesamtkunstwerke for exhibitions, museums, visitor centres and organisations. Besides an overview of projects carried out over the last ten years, the book "Presentation and New Media - 10 Years checkpointmedia: Concepts, Paths, Visions" contains essays by leading contemporary protagonists on the current discourse in the media, worlds of experience, communication and internet sectors. Seven chapters of the book are devoted to experts' contributions, interspersed with illustrations of checkpointmedia projects. The book elucidates the various aspects of the company's work, from research, artistic involvement, storytelling and the provision of information on subjects such as design, architecture and the integration of new technologies such as websites and content management systems, to the exploration of questions of identity, culture, communication and implementation - all of which are inextricably linked to one another.
Published by Springer-Verlag Vienna/New York
Exhibition, checkpointmedia, 2010

Exhibition "90 Years of the Salzburg Festival – The Great World Theatre"

In 2010, the Salzburg Festival celebrated its 90th anniversary. A traditional style exhibition with panels, objects and models seemed inadequate for presenting the sheer variety of artistic brilliance. Consequently, the displays and texts were "fanned out" to reflect the scope of the Festival's history. Soundtracks and spoken excerpts from key documents in the history of the Salzburg Festival became generators of exhibition areas, which then carried the content in the form of timber "ribs". As a result, the history of the Salzburg Festival was physically brought into the room: visitors could not only view the events but move around in them. The timber “ribs” were connected by a timeline that traced the development of the Salzburg Festival over the decades. In this way, it was possible to present not only individual personalities and their work but also the connections to political and social events, and the ambiguities, caesuras and continuities that shaped and still shape the Festival.

The individual exhibits were placed on the surfaces of the "ribs", thereby freeing them from the restraints of the traditional, two-dimensional form of presentation. This created "windows", opening up views into 90 years of Salzburg Festival history. Costumes and an "Everyman" installation protruded out of the "ribs" into the surrounding space and across the visitors' path.

The high point and grand finale of the tour was the central installation of the "World Stage" - a stylised stage with multimedia features. The media installation " The Great World Theatre" was a "meta-performance" distilled out of the leading productions of the last nine decades and reassembled into a new presentation. The stage was an abstract model, quoting and replicating all the stages and venues of the Festival, quite in the spirit of Max Reinhardt's motto, "The city as a stage". The projection was devised using the so-called "augmented reality" approach: the projectors were focused onto the model, capturing its form pixel by pixel. A different video could be played on each of the model's 22 surfaces arranged on the stage area.

July 17th to October 26th, 2010 at the Salzburg Museum.
Exhibition, checkpointmedia, 2009

Exhibition "Linz. City in Luck" – Linz 2009 European Capital of Culture

As a regional capital, Linz is a special case. For a long time, the city had to struggle with its provincial image, enduring for many years a poor reputation as a stinking industrial town without charm, its history overshadowed even today by that hapless period when it was the "Führer's" favourite city. However, since the 1970s, the city has undergone a profound transformation. The aim of both a research project directed by Thomas Philipp (LIquA - Linz Institute for Qualitative Analyses) and the exhibition itself was to adopt a definite position towards the central questions concerning the city’s development. What makes Linz an industrial and cultural city? Which events have imprinted themselves on its collective memory? How do the people who live and work in Linz see their city? The history of Linz is examined on the basis of various perspectives - some of them very personal. This has made it possible to avoid the classic approach to presentation that is frequently encountered in a municipal museum, enabling the local audience to be addressed directly and exposing national and international visitors to the Cultural Capital Linz09 to new approaches. The exhibition was staged as a stylised residential house, in which each room accommodated a theme. As such, the spatial installations could be understood not only as design elements but also as commentaries. Information was conveyed via texts and newspaper articles from the respective periods. Embedded in the space were video installations showing interviews with people from Linz talking about their city.
checkpointmedia, 2008

Identity Film "What makes Erste Group great?"

In honour of Erste Bank's 190th anniversary, the film brings to life the original vision that inspired the founding of the bank in 1819 and links past, present and future. The historical outline illuminates the origin and growth of the Erste Group and aims to emotionally anchor the knowledge in the minds of staff and clients. The film is a mixture of statistics, facts and an animation compiled of historical and present-day images and is suitable for all target groups in every country, even those without previous knowledge of the company, and acts as a means of strengthening a collective sense of identity. The goal of the project is to show the film to 50,000 employees using internal communications, and to clients by means of various platforms, in order to convey the key message: "We opened our doors 190 years ago and have not closed them since."
Exhibition, checkpointmedia, 2008

Krones AG – Company Museum

Krones AG is the global leader in plant construction for filling and packaging technology in the beverage industry. On entering the Krones headquarters in Neutraubling, Bavaria, visitors are greeted by a row of five upended monitors. They show macro photos of liquids in movement: a drop of water hitting a surface, a glass of wine being filled, Coca-Cola fizzing, the slow pouring of oil. The customised software enables the film to be modified and tailor-made for each visitor in less than 15 minutes so that each guest can be received in an individual way. The company museum presents 50 years of history and technical development at Krones. A backlit exhibition wall, 30 metres long, displays its history in short texts, images and original exhibits; monitors also function as "photograph albums in motion". Glass display cases containing original objects extend out of this wall and into the surrounding space. Situated opposite, and acting as a counterbalance to the virtual narrative, is an exhibition of massive historical machines, whose functions are in turn shown on screens.
Exhibition, checkpointmedia, 2007

Swarovski Crystal Worlds – Redesign 2007

The Swarovski Crystal Worlds is among the most popular tourist spots in Austria. As part of the redevelopment of the Chambers of Wonder in 2007, additional highly appealing attractions were conceptualised and installed, which work with spatial scenarios and striking multimedia elements. In the section entitled "La Primadonna Assoluta", the visitor meets Jessye Norman, who can be seen in a performance in the Crystal Dome. The high-quality audio and video presentation gives the spectator the feeling of being in the middle of a live performance of the final aria from Henry Purcell's "Dido and Aeneas". In the passageway leading from this section, a stylised subaquatic world is presented in "Poseidon's Puzzle". Lamellae, arranged in perspective, draw visitors onwards with light and sound compositions. With every step taken across a bridge, the world of images is transformed and the acoustic impression changes. Brian Eno's "55 Million Paintings by Brian Eno" shows the technical implementation of a concept developed by the artist, a generative artwork formed of image and sound sequences constantly re-assembling themselves into new configurations. The section "Reflections" is staged as a crystalline kaleidoscope, demonstrating the organising principles of micro- and macrocosm. A sophisticated lighting control system and a 16-channel sound installation create a walk-in multimedia stage for the visitor. Various themes are played out in the form of images, graphics, illustrations, mirror and filmed animations on a total of 48 polyhedra and more than 300 screens.
Exhibition, checkpointmedia, 2006

Mozarthaus Vienna – Multimedia Exhibition

Vienna, Domgasse 5: since 27 January 2006 (Mozart's 250th birthday), this fully refurbished house containing Mozart's former apartment, the only one of his Viennese residences still in existence today, has paid homage to the life and work of the musical genius. The exhibition is on three floors and covers an area of approximately 1,000m². The audio-visual installations in the Mozarthaus are inspired by media techniques and "worlds of wonder" of Mozart's time. At that time, decades before the invention of photography and film, optical experiments and illusions, automatons and mechanical tricks were becoming fashionable and made people gasp in astonishment. A video and sound installation in the roofed courtyard shows a Montgolfier balloon on multiple monitors rising up with the lift. The journey continues on the top floor, with a flight over historic Vienna and the most important places associated with Mozart's "golden years" in the imperial capital. A mini "perspective theatre" and a large panorama projection across the "Graben Nymphs" present the gallant, dashing side of the 18th century as an erotic game of discovery. An installation on the theme of "Figaro" combines the principle of old puzzle dice games with modern aesthetics and video technology. The grand finale is the multimedia homage to Mozart's opera "The Magic Flute"; a stage set made of scenery, projections and lighting effects showing a short version of "The Magic Flute" as virtual "mirror opera" from 1791 to the present day. Film footage of legendary productions is projected into the partly real, partly virtual stage landscape. Papageno moves as a projection through space and time and presents the main arias from the opera.
Exhibition, checkpointmedia, 2005

Exhibition – Palais Epstein

During the 130 years of its existence, Palais Epstein has been used for more than a dozen different purposes: as a residential and commercial building for the Epstein family, as the headquarters of the English Gas Board, as a local authority office building (for Austria's Higher Administrative Court, the Vienna School Board, and the Department of Building of the Governor of the Reich under the NS regime), as the city headquarters of the Soviet army, a branch of the Academy of Music and the Performing Arts, and once again as the seat of the Vienna School Board, before it was finally adapted for parliamentary purposes.

Five media stations equipped with high-format 30-inch screens enable visitors to call up texts, pictures, graphics, animation films and short video clips. One animation film shows "Owners and utilisation of the buildings on the Ringstrasse in 1914", another provides an overview of the inhabitants of the Palais Epstein building complex during the last century. A special station was developed about the Epstein family, with a family tree interface and a family tree animation film. The presentation of this Jewish family's social network was researched on the basis of an extensive address book. The Palais as a residential and bank building is presented by means of a drawing that allows visitors a glimpse inside, as well as providing information about the rooms, their uses and their inhabitants. Objects from the building's long history, exhibited in specially manufactured showcases, also form part of the exhibition, as do original pieces of furniture and paintings.
Exhibition, checkpointmedia, 2005

Vienna Parliament Visitor Centre

Multimedia to convey knowledge
The visitors' centre at the Austrian Parliament, created by architects Geiswinkler & Geiswinkler, represents an opening up to the outside world and provides a gathering point for tourists and interested citizens. The use of multimedia serves above all to convey knowledge and is integrated into the architecture, e.g. the stations behind tinted glass are only perceived when they are switched on and active.
On their arrival, visitors are greeted by an oversized media wall showing a film as an overture. At the first station, the process of making laws, which is the principal task of parliament, is presented simply and intelligibly on three synchronised monitors. The basic tenets of parliamentary democracy in Austria are elucidated in an interactive installation based on four elements: "Citizens", "Members of Parliament", "Laws" and "Enforcement".The Wheel of Time shows video clips that provide an overview of the historical cornerstones of Austrian parliamentarianism. It is operated by a large rotating mechanical wheel, by means of which one navigates along a time line. The Time Machine also allows larger groups to watch a film about the history of parliamentarianism in a "cinema atmosphere". With the "Time/Reading Glass" feature, a multimedia installation that combines virtual and mechanical elements, the public is able not only to explore the exterior of the Parliament building in great detail but also look inside it. Hotspots communicate interesting information about the architecture and functions of the building. In 2006 the visitors’ centre of the Austrian Parliament won the Austrian State Prize for Multimedia in the category “Public Information and Services”.
Exhibition, checkpointmedia, 2005

Salzburg Museum – Sattler Panorama

The Sattler Panorama, completed in 1829 and presented in a mobile rotunda, became a pan-European attraction. Supplemented by an interactive module, the original panorama is now once again open to the public at the Salzburg Museum. Looking through a "time/reading glass", visitors can move a screen continuously over an image of the Sattler Panorama and alternate between 1829 and the present day in the selected section. A change-over switch accesses detailed information on the city's development since 1925; original sounds from city life enhance the virtual experience. The original Panorama can also be observed from a round rostrum using a specially prepared "telescope", which simulates the feeling of distance and perspective. The screen can be moved in front of any part of a reproduction of the huge painting (the original is nearly 5 metres high and 26 metres in circumference and has a surface area of 125 m²) and the corresponding detail of Salzburg as it is today appears for comparison. There is also a switch that can be used to obtain detailed information on the city's development since that time. checkpointmedia was responsible for the entire project: from the original idea to the exhaustive preparation of photographs for the digital aspects of the city, to software development for the time/reading glass and its functions, the design of the information unit and on-site hardware installation. Although the installation may appear very simple it actually consists of over 200 single parts, most of which were specially produced, and over 1000 screws.
Exhibition, checkpointmedia, 2005

Hans-Moser-Exhibition – Austrian Theatre Museum

The exhibition Hans Moser on the popular Austrian actor and the virtual national institution was one of the most successful exhibitions ever held in the Austrian Theatre Museum. Its objective was to present the artist without resorting to clichés and to create new approaches to his work.
A large-scale video installation combined famous scenes from Moser films in five parallel projections. The production cast a new light on Moser, with his comedic talent, his characteristic body language and his unique interpretation of human characters. In addition information-steles with written texts and integrated audio elements showed views of the life and work of one of Austria's most popular actors.
Exhibition, checkpointmedia, 2003

Swarovski Kristallwelten – Redesign 2003

The Crystal Worlds, designed by André Heller in Wattens, Tyrol, was opened in 1995 for Swarovski's 100th anniversary. Since then it has been continually expanded and further attractions have been added.
The audio-visual scenario of the meditation room, “Crystalscope”, provides a counterpoint to many of the other attractions in the Swarovski Crystal Worlds. A high-definition rear projection running quietly shows an over-dimensional crystal on the ceiling, the colours in its virtual facets constantly changing. Ambient sound from invisible speakers accompanies visitors who can lean on one of the concentrically arranged steles and gaze up at the ceiling to view the crystal from an ideal angle.
The "Corridor of Metamorphoses" shows an animation on multiple monitors, aligned next to one another, which proceeds to document - in the direction of the walking tour - the metamorphosis of fractured forms into crystalline structures and finally into crystal sculptures.
"The Giant's Belongings" presents utility objects such as gloves or an accordion in larger-than-life proportions. They are moved mechanically by a special control system, which also regulates the synchronicity of lighting and lighting effects.
Exhibition, checkpointmedia, 2003

Red Bull Hangar-7 – Multimedia Staging

The Red Bull Hangar-7 at Salzburg Airport fulfils many purposes, which at first glance seem to conflict with one another. It is an air show centre with an air base for aerobatic troops and an aircraft showroom with numerous restored classic, veteran planes. It is also a location for art and lifestyle events and top-class gastronomy. The multimedia installations produced by checkpointmedia for this "high-tech entertainment area", reflect the building’s multiple uses.
The entertainment factor is of prime importance and aims to give visitors a great experience, full of surprises and excitement, in line with the company's image. After dark, visitors are shown the way to the hangar by means of a huge projection of the Red Bull logo.
Next to the entrance is the Doppler Foyer, which transforms a scientific topic into a sensory experience: centrally controlled light devices conjure up an artistic visualisation of the Doppler Effect (named after the Salzburg physicist Christian Doppler); transparent DVD-steles serve as information carriers and add audio elements to a sound collage.

The opening of Hangar-7 on August 22nd, 2003 stayed with the topic of flying and featured its own 1960s-style stewardess costumes for the hostesses. Steles shaped like aircraft tail assemblies displayed videos, pictures and information about the exhibited aircraft. Invitations were designed like VIP tickets and sent with a specially made folder and box. A Hangar-7 umbrella was designed and produced in the oval shape of the hangar. The main attraction in Hangar-7 is the Mayday Bar, which was equipped with interactive features between 2003 and 2010. The almost circular surface (270°) was conceived and developed as a continuous screen for interaction with the worlds of animation played out on it: aircraft of the Flying Bulls hovered over the Salzburg landscape, wrapped themselves round glasses, or fled from ashtrays. In a second setting - New York, comic style - amusing waiters interacted with cocktail glasses and mobile phones. Visitors to the bar could communicate with each other via a virtual communicator, a contemporary version of the legendary table telephone. In 2003, the technical implementation of the Mayday Bar was a complex matter: 38 PCs in 18 modules, each with a projector, detected what was happening at the bar through infrared sensors. The computer registered the data objects, which in turn triggered a programmed interactive response. The technology was integrated into the bar counter and completely invisible to guests.

There are mini-multimedia gimmicks in Hangar-7 as well, like the WC chat: guests can create cartoons and speech bubbles – virtual graffiti – with which to communicate between the ladies' and gents' toilets. In the hangar’s interior, tailored audio-visual equipment was conceived and developed both for the main area as well as for the gastronomy zones and private VIP rooms.
Exhibition, checkpointmedia, 2003

Exhibition "Archbishop Paris Lodron" at the Dommuseum Salzburg

For the exhibition "Archbishop Paris Lodron (1619-1653), Statesman between War and Peace" at the Salzburg Dommuseum, checkpointmedia designed and installed a complex projection installation and an information display for the entrance hall of the Salzburg Dommuseum. No other archbishop has left his mark on both the city and province of Salzburg to the degree that Paris Lodron has done. Besides his work as a statesman, his outstanding achievements include the completion and furnishing of the new cathedral. Its consecration in 1628 was the most magnificent celebration Salzburg had ever seen. The famous copperplate engraving by Christoph Lederwasch showing the procession to the cathedral consecration is "brought to life" in a projection installation.
Exhibition, checkpointmedia, 2001

Museum Ladin – Media stations

The Museum Ladin in St. Martin/Thurn im Gadertal/Val Badia in South Tyrol contains an impressive account of the history of the Ladin people in the Dolomites, which stretches back over more than 2,000 years: the multimedia station "Historical Panorama" portrays their history using video animations and audio commentaries in four languages; the interactive "Language Atlas"offers entertaining insights into the Ladin language. The complex organisation (voice recordings in four languages), content editing (in cooperation with Ladin experts) and the overall supervision of the technical features (animations, video clips, large-scale projections) plus the coordination of the exhibition designers and technical equipment providers for these stations were all the responsibility of checkpointmedia.
Exhibition, checkpointmedia, 2001

Lower Austrian Provincial Exhibition 2001 – Media stations

The Lower Austrian Provincial Exhibition "Mystical Waldviertel", "Meaning & Being", "Castle & Man" in Waldreichs and Ottenstein in 2001 made use of a large number of interactive media stations. checkpointmedia was responsible for developing the majority of the media stations and the hardware and software. In one project, two sound installations, one of which has 16 channels and both covering several rooms, were conceived and installed in cooperation with Wolfgang Mitterer, the sound artist and composer.