Medial Stadium - Stadium as ‘TV Set’
Transformation is again driven by the existing arrangement of TV cameras at the RTE Stadium, however this time expansion occurs within and up to the extents of the camera’s FOV. Meanwhile outside of the cameras’ gaze, stands remain unaltered. Perhaps this is the most efficient way for Kasimpasaspor FC to convey the image of a highly powerful and popular club to its TV audience.
The resulting building can be interpreted as a TV or stage set; akin to the film scenery constructed for the shooting of Hitchcock’s Rear Window. Here, a spectator inside the ground or a passer-by will perceive a building characterised by cuts and edges, while the TV-viewer will perceive a vast idealised stadium.
This spatial-geographic simultaneity instigates a contention between the spatial audience inside the arena and the medial structure of the TV viewers tuning in globally. While it was initially feared that the increasingly popular TV coverage of sporting events might negatively affect the numbers of spectators attending games, it seems the existence of both audiences remain mutually independent. If anything, television has motivated stadium attendance, by signalling the sporting event as a significant occasion and enabling the opportunity for fans to see themselves on camera.
Consequently, this proposal situates its primary large LED screen opposite the main bank of spectators inside the ground - a mirror image for the fans to spot themselves on TV and the completion of a mediatised feedback loop inside the stadium.
Additionally, the seating bowl may be divided according to a series of standard scenes or shots used to broadcast football matches. Seating positions may be chosen for the camera shots that spectators may get to appear in. Whether it is the frequently-used perpendicular shot, or goal-action shot, or corner flag shot or the general tactical angle.