In recent years, media facade, commonly known as "city TV", has sprung up in many cities. The large-scale application of media facade is controversial in the industry, especially in aesthetic and light pollution.
But today, I would like to talk about media facade from another angle. From a larger dimension, I would like to talk about why media facade can be applied so explosively. This dimension is the "era background".
In fact, everything has its own brand of the times, which is the most common experience in museums. No matter what kind of cultural relics of different dynasties, we will find their unique characteristics when wandering around.
Most of the utensils in the Han and Tang Dynasties are graceful and heroic, while those in the Song Dynasty are restrained and exquisite and pay attention to the connotation. What makes them different? I think there is no doubt that they are in their respective times.
Both the Han and Tang dynasties belong to the era of opening up the territory and forging ahead with determination. Chen Tang, a famous general of the Han Dynasty, said that "those who commit crimes against a strong Han in the Ming Dynasty will be punished even if they are far away". After thousands of years, they still make people feel moved. In the Song Dynasty, it was surrounded by powerful enemies. Foreign wars often lost more than won less, so they could only develop inward. In addition, with the high prosperity of economy and culture, the Song Dynasty had a broad, quiet, gentle and delicate character. If time and space shuttle, let a Han Dynasty people and Song Dynasty people meet, can they appreciate each other's artistic achievements. Do people in the Han Dynasty think that the art works of the Song Dynasty are mean and weak, while the people of the Song Dynasty think that the people of the Han Dynasty are rude and humble?
Back to modern times, more than 100 years ago, the Chinese nation was opened up by the powerful ships and guns of the Western powers, and was devastated. As a result, the national self-confidence was lost. From then on, it began to doubt its own culture and tradition. In the new culture movement, some radical intellectuals even advocated abolishing Chinese characters and Westernization. After the founding of new China, although it achieved independence, its national strength was still relatively weak. Until the reform and opening up, China's national strength recovered rapidly. In recent years, China's comprehensive national strength has returned to the forefront of the world, ranking the second in the world. Along with the restoration of national self-confidence, various social phenomena also reflect this mentality.
In recent years, the craze for Sinology and the popularity of treasure authentication programs on TV are not all the reflection of this mentality? We have begun to re-examine our traditional culture and no longer regard it as a dross. We are eager to show our strength to the world that we are no longer the ravaged, impoverished and weak country, but that we are back at the top of the world.
In the city's nightscape lighting is also full of this mentality mapping. How can we better demonstrate our strength? Making some large-scale scenes is often the simplest and most direct way. The Qianlong emperor's thousand old people's banquet, some cultural activities of ten thousand people's Taijiquan, and some areas of the 10000 family banquet, whether ancient or modern, are not used in this way. In this kind of social mentality, coupled with the maturity of media curtain wall technology, the "big city TV" has sprung up everywhere.
The media curtain walls of dozens of high-rise buildings interact at night and deduce various gorgeous patterns. What kind of lighting method can create a larger scene than it? Sometimes some introverted and delicate scenes need time to savor in order to feel its beauty. But large scale scenes can be shocking in a very short time. At this stage, we often choose the latter. For this kind of choice, we understand very well, the method is simple, but also can cater to today's social mentality.
Urban lighting will have a process. After a period of time, when our strength is widely recognized by the world, our social mentality has changed, and we gradually have aesthetic fatigue on "big TV", we will choose more other lighting methods to show our city night scene. We can see the night scene of Shanghai in the 1930s and 1940s from the old movies. What impresses us most is the colorful and constantly flashing neon lights. It is not beautiful, but it is a symbol of the night scene of that era.
When we look back to the present in a few decades, I think "big city TV" will also become an imprint of the night scene of this era. Whether it's beautiful or ugly, it's just a process. We don't have to be too critical of "big city TV" from the aesthetic point of view, just as we never blame children's childishness, because we know that is a characteristic of this stage. No matter what kind of logic we have seen in the history of human beings, we have seen the logic of the society.