• StudierendenPreis des IF geht an Adrian Azadvaten

    Prof. Christof Windgätter und Adrian Azadvaten

  • StudierendenPreis des IF geht an Adrian Azadvaten

    Prof. Christof Windgätter

The IF Student Prize goes to Adrian Azadvaten

Digital preservation by the Motion Design student Adrian Azadvaten was what convinced the jury to award him the student prize of the Institut für gestalterisches Forschen (IF). Prof. Christof Windgätter congratulated him in front of the Academic Senate in the name of the jury (Prof. Csongor Baranyai, Prof. Dr. Gora Jain, Prof. Cyrus Khazaeli, Prof. Ubbo Kügler, Florian Kühnle, Rana Öztürk, Prof. Dr. Christof Windgätter, Prof. Dr. Katrin Wolf) and read out the reason. Among other things, it was stated: “This work is particularly distinguished in its research approach, and it also outlines a vision for future digital preservation by going back to historical and contemporary examples. In it academic and archaeological systems are combined with the technical, aesthetic, and haptic possibilities of game engines.” 

The work of the sixth-semester BTK student is titled “Game Engines as Virtual Immersive Archiving System and its Necessity in Digital Preservation.” What is it about? The digital-virtual reconstruction attempt of a prehistoric town called Tell Halaf, which lies in the Syrian-Turkish border area. “I have been involved with analog and then digital preservation for quite a long time already,” says Adrian Azadvaten, “with the game engines for four years now. They open up new possibilities to examine objects and – in the future – feel them haptically. That is the distinctive feature of virtual reality which now has become spatially accessible with the advent of head mounted displays.”

The reason he chose the example of the prehistoric city Tell Halaf was the “unfortunate fate” of this settlement. In the 20th century, the German diplomat and archaeologist Max von Oppenheim excavated the place and brought some of the finds to Berlin, where they were mostly destroyed during the Second World War. In 2007 the surviving as well as restored objects which could not be classified were given back to the National Museum in Aleppo and are today likewise threatened with war and destruction. “Since the outbreak of the Syrian civil war, no one knows exactly if the National Museum in Aleppo still stands in its original form, or how much has been destroyed due to the war,” says Azadvaten. “Thus we had the idea to reconstruct and visualize Tell Halaf virtually so that future generations could continue to experience and above all access it spatially.”

Azadvaten summarizes that he is very happy to see his work recognized so highly. “As a designer especially, I find it essential to grapple with creation and research in order to rethink and combine these disciplines anew. Preservation has nothing to do with design or creation, but today, technical 3D programs offer an opportunity to carry out fast and efficient possibilities for reconstruction, in which creative decisions become ever more important.”

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