Storytelling for Interiors: From Murals and Wallpapers to Digital Screens

From Garden to Paradise: The Origins of Mural Art

The fascination with murals is as ancient as humanity itself, tracing back to prehistoric times. In the Lubang Jeriji Saléh cave in Borneo and the Chauvet-Pont-d’Arc cave in France, early humans left behind stunning depictions of animals and people. These rudimentary yet powerful images marked the beginning of a long tradition of mural art, which evolved significantly in antiquity. In ancient Egypt, wall paintings were not only artistic expressions but also symbols of power and status. Elaborate garden scenes on walls connected the interior with the exterior world, offering a glimpse of the afterlife. Initially exclusive to pharaohs and rulers, this art form eventually permeated the homes of wealthy Roman citizens, who embellished their villas with intricate geometric and floral designs.

The desire for illusionist painting also emerged early on, using light, shadow, and color to depict the outside world in a naturalistic manner, creating a virtual connection with the physical space. During the Renaissance, the mastery of perspective led to more complex compositions that added depth to the flatness of walls. Instead of static scenes, sequences of images began to create dynamic narratives, introducing a new understanding of time and space in mural art.

Transportable Stories: The Age of Tapestries

By the late Middle Ages, large-scale transportable images emerged in the form of valuable tapestries, which architect Le Corbusier aptly described as “nomadic murals.” These tapestries were not confined to one location; they traveled with rulers from one residence to another. In churches, tapestries depicting religious motifs were displayed on special occasions, allowing worshippers to experience these grand narratives in different settings.

Democratization of Wall Decoration: Printed Paper

The mass production of paper wallpaper in the 19th century democratized wall decoration, making it accessible to a broader population. Floral and geometric motifs could now be afforded by the less wealthy. William Morris, a key figure in the Arts and Crafts movement, developed a graphic language that balanced three-dimensional illusionism with geometric precision. Elaborate sconces and chandeliers with candles have started to offer a warm dimmed light to experience wallpapers even in the evening.

The Myth of Neutrality: Modernism and the White Wall

As the opulent narratives and geometric patterns of the 19th-century interiors gave way to modernism, movements like the Bauhaus and architects like Le Corbusier and Bruno Taut championed monochrome wall surfaces. The walls no longer dissolved into delicate patterns but appeared monolithic and solid. The color white quickly assumed a central role, gaining ideological significance as “neutral” and “modern.” Yet, as the whitewashed buildings of the Mediterranean, particularly in Greece, show, this was not an entirely new concept; there were already craft traditions in white. In his seminal essay “Inside the White Cube,” art critic Brian O’Doherty deconstructs the supposed neutrality of white walls. Thomas McEvilley explains this notion, stating, “The white cube was a transitional device that attempted to bleach out the past while controlling the future by appealing to supposedly transcendental modes of presence and power.” The advent of electric lighting, which bathed walls in uniform light, only deepened the fascination with white spaces, making them appear even more expansive and light-filled.

Patterns in Stone: A Return to Materiality

In contrast to the painted murals or printed wallpapers of the past, architects like Mies van der Rohe and Lilly Reich embraced the natural patterns of stone. Their Barcelona Pavilion, adorned with Roman travertine, green alpine marble, ancient Greek green marble, and golden onyx from the Atlas Mountains, demonstrates how stone patterns can serve as both decoration and art within the context of minimalist architecture. The large-format slabs used in the pavilion contrast sharply with finely patterned small oriental wall tiles. The Barcelona Pavilion also points to another new concept: illuminated walls. The two frosted glass panes, lit from within by fluorescent lamps, foreshadow the significant impact that electric light—and eventually colored pixels—would have on the appearance of walls.

The Digital Frontier: Addressable Pixels and Dynamic Narratives

With the advent of LED technology and advancements in hardware and software, digital tiles have transformed walls into vast screens capable of displaying high-resolution visual narratives. These walls are no longer illuminated from the outside, but light up from the inside, with each pixel capable of displaying millions of colors. Artificial intelligence has further expanded the possibilities for content creation and updates. However, this technological freedom brings new challenges: What stories should these luminous walls tell when virtually anything is possible? How can local context guide the visual narrative? How can insights from Robert Venturi’s and Denise Scott Brown’s “decorated shed” concept be adapted to introverted interior spaces with a decorated digital layer? And crucially, how can commercial pressures be balanced to avoid turning interiors into oversized billboards? The design challenge lies in harmonizing form and content.

Finding Concepts for Digital Storytelling

Brad Koerner, product marketing manager at Ventana, suggests reflecting on three key aspects to achieve compelling storytelling with digital walls: the goals of immersive spaces, the methods used, and the appropriate tools.

He suggests that the objectives of immersive spaces can be categorized into two main types: initiating actions or creating memories. On the one hand, digital walls can guide visitors or draw attention to objects or spaces; on the other, they can create short-term delight or more long-lasting emotional impressions

Engaging the Viewer: Levels of Immersion

For immersive experiences, Koerner identifies four levels of engagement:

• Drawing Focus: The initial step is capturing the visitor’s attention, which Koerner suggests is best achieved through gradual seduction rather than intrusive motion graphics.
• Passive Engagement: This occurs when guests view the content without interacting, such as when they observe a media piece and follow the narrative without further involvement.
• Active Engagement: Here, the content prompts a physical reaction, like moving in a certain direction or interacting based on what is displayed.
• Conveying Stories: The highest level of engagement involves a rich, time-based narrative that evokes deep associations.

Koerner also outlines five categories relevant to designing digital walls:

• Cycles of Time: Consider the rhythm at which the space is visited and how long viewers stay. Content that changes too rapidly can overwhelm, while repetitive animations can lead to monotony.
• Layers of Reality: Blending the virtual and physical worlds can create depth, with augmented reality (AR) glasses enhancing the experience.
• Active Objects, Surfaces, Zones: Interaction turns the wall into a responsive surface, where digital objects and zones react to the viewer’s movements.
• Learning Environments: Digital content that adapts based on viewer interaction could optimize storytelling, though this requires complex AI and design expertise.
• Spatial Memories: While dynamic digital media allows for flexibility, certain spatial anchors must change more slowly to maintain orientation and comfort.

Sustainable Walls

As the debate around sustainable architecture intensifies, questions arise about the energy consumption and lifecycle of digital walls. How will these walls age compared to traditional murals or stone surfaces? In a world filled with countless screens, both mobile and fixed, it remains to be seen when—and based on what criteria—the first luminous digital walls will be recognized and preserved as culturally and historically significant.

This exploration of wall design, from ancient murals to modern digital surfaces, illustrates the ongoing evolution of how we interact with and interpret the spaces around us. As technology continues to advance, the challenge lies in creating digital walls that are not just visually striking but also rich in narrative and context, merging the best of both art and architecture.

Light matters, a column on light and space, is written by Dr. Thomas Schielke. Based in Germany, he is fascinated by architectural lighting and works as a trainer for the lighting company ERCO. He has published numerous articles and co-authored the books “Light Perspectives” and “SuperLux”. For more information check www.erco.com and www.arclighting.de.