Immerse yourself in the Middle Ages with the new Wallraf Game

Building design
Cologne

Cologne

The Wallraf-Richartz-Museum & Fondation Corboud in Cologne is focusing on innovative art education and has launched a digital game for the public aged 12 and over: The Wallraf Game – an adventure with analog and digital monsters, devils and saints “Ricarda’s Secret” is already over 600 years old, but thanks to state-of-the-art technology, all youngsters can play it at the Wallraf-Richartz-Museum & […]

The Wallraf-Richartz-Museum & Fondation Corboud in Cologne is focusing on innovative art education and has launched a digital game for the public aged 12 and over: The Wallraf Game – an adventure with analog and digital monsters, devils and saints

“Ricarda’s Secret” is over 600 years old, but thanks to state-of-the-art technology, all young people at the Wallraf-Richartz-Museum & Fondation Corboud can finally unravel it. This summer, the game of the same name was launched in the famous medieval collection of the Cologne museum: “Ricarda’s Secret” is an adventure with analog and digital monsters, devils and saints for all art fans and gamers aged 12 and over. Equipped with the museum’s own mini-console and headphones, players will travel through the Middle Ages and not only discover wonderful works of art such as the Lochner Madonna and Dürer’s “Piper and Drummer”, but also immerse themselves in Cologne life around 1400.

“With the Wallraf game ‘Ricarda’s Secret’, we can literally appeal directly to a young audience in a playful way and get them excited about our medieval art,” explains Dr. Marcus Dekiert, who has been director of the Wallraf-Richartz-Museum & Fondation Corbaud in Cologne since 2013. In Ricarda, the gamers meet a character of their own age with whom they can immerse themselves in the medieval narrative world.” In the mixture of computer game and audio story, which the Wallraf conceived and realized together with author Ralph Erdenberger and digital agency Interlutions, the players help the young monastery student Ricarda to recover stolen relics. This is how the girl is freed from captivity. During this journey through time, twelve paintings are brought to life and the painted characters tell their own stories. They help gamers to decipher secret pictorial symbols and bring them closer to the distant world of the Middle Ages: What was life like in Cologne back then? Who were the city’s patron saints? Why were people so terrified of the devil? What power did saints have? And who waited for the dead in heaven? “Ricarda’s Secret” was funded by the Federal Government Commissioner for Culture and the Media and Sparkasse KölnBonn as part of the NEUSTART KULTUR funding program.

For the conception and realization of the game and its audio stories, the Wallraf was able to win over the well-known author Ralph Erdenberger, who has many years of experience in the development and production of stories and radio plays about the visual arts. The games were programmed by the Cologne agency Interlutions, which took care of the layout, programming and system development. Prominent narrators such as Wilfried Schmickler breathe life into the characters in the game and bring the Middle Ages back to life.

More than 60 minutes of lively audio experience and ten different interactive game elements fascinate (not only) young people. References to their own reality, visual experiences and explanations of existing knowledge lead to a high density of knowledge transfer in a playful way in “Ricarda’s Secret”. The game introduces the young target group to the abstract world of saints, relics, heaven, hell, clergy and devils in an entertaining but also educational way. The creators have deliberately combined audio stories and computer games in order to engage young people in their own world. However, the museum deliberately focuses on the actual experience of the Wallraf in front of the paintings themselves.

The Wallraf Game and inclusion

The Wallraf Game is a free offer. Mini consoles and headphones are handed out in the museum foyer for a deposit. This means that users do not need their own smartphone to use the game, nor do they need to download or register. This is because the museum wants all young people to have access to this service. Last but not least, on-site use also supports the museum’s didactic intention that gamers should engage directly with the works of art. The game lasts between 60 and 90 minutes.

Tip: In 2016, the Wallraf-Richartz-Museum opened the “In the Museum Laboratory” department, which has since given visitors an insight into the work of the conservators and thus behind the scenes of collection care (read more here). One of the paintings on display there is “On the banks of the Seine near Port Villez”, which was first identified as a forgery by the Wallraf’s art technicians. Visitors are given a clear explanation of what happens behind the doors of the “Department of Art Technology and Restoration”. You can find the video here.

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“Daily use is the best protection” Philipp Speiser has been restoring in Egypt for many years. He is an honorary professor at the TU Berlin and director of the project “The Fatimid Cemetery in Aswan”, which was successfully completed in 2014 and in which a sector of the necropolis was documented and restored. Archaeological sites are being looted in Egypt – how are they currently being […]


Foto: A. Paasch

“Daily use is the best protection”

Philipp Speiser has been restoring in Egypt for many years. He is an honorary professor at the TU Berlin and director of the project “The Fatimid Cemetery in Aswan”, which was successfully completed in 2014 and in which a sector of the necropolis was documented and restored.

Archaeological sites are being looted in Egypt – what are the current conditions for restoration in the country?

I can only speak for our project. I think restoration and looting have little to do with each other, except that places that are being worked on are better supervised during the work on site. The conditions for restoration are the same as before the revolution.

You have been restoring in Egypt since the 1980s. What has changed for you and your work since the revolution in spring 2011?

Nothing has changed for us since the revolution, as the German Archaeological Institute (DAI) still maintains excellent contacts with the Egyptian antiquities administration. We have the same Egyptian partners and local staff as before the revolution.


Foto: A. Paasch

To what extent was the Fatimid Cemetery the target of looting?

On the one hand, the cemetery is naturally used regularly and is considered a sacred place that is respected as such. There is therefore constant supervision by the users, and its daily use is the best protection.

Secondly, there are no antiquities or finds that can be sold for profit.


Foto: W. Meyer

In your opinion, how can the archaeological sites in Egypt be protected from looters?

Only through an appropriate presence of guards and wardens and a greater awareness among the population of the archaeological heritage and its importance. For this reason, the DAI has launched several educational programs for cultural preservation in Egypt. It is to be hoped that economic stabilization and the growth of tourism, particularly in the Nile Valley, and the resulting financial improvement will reduce looting.

Spatial Planning Matters! – Book review

Building design
Spatial-Planning-Matters Cover © vdf Hochschulverlag AG an der ETH Zürich

Spatial-Planning-Matters Cover © vdf Hochschulverlag AG an der ETH Zürich

Scientists at ETH Zurich have published an anthology on the planning process. It contains both practical examples and theoretical essays. And is a must for students.

Planning is mysterious. With increasing complexity, the process of a project becomes more decisive than the physical intervention. Whose voices are drowned out, what role do planners play in this process? Scientists at ETH Zurich organized a series of seminars on these questions with international scientists and practitioners from the planning world. The 232-page book documents the research results.

How to avoid planning errors

The publication has an exemplary structure and consists of two main parts: “Inspiring stories” and “Fundamental topics”. The first part presents seven completed and nine ongoing projects that demonstrate a variety of challenges and approaches to planning practice in Europe and the USA.

The essays on the “fundamental themes” discuss issues and innovative strategies. They should be considered in the various phases of the planning process. For example, the essay “Planning approaches or nothing comes from nothing” mentions that problem analysis at the beginning of planning is crucial and should not be ignored. The lack of a broad discussion of the problems was, for example, one reason for planning errors in the Stuttgart 21 project.

Focus on social aspects

The structure of the book fulfills its purpose of bridging the gap between practice and theory and reaching a broad audience outside specialist circles. The content of the publication is innovative and scientifically sound. It has a clear and concise structure, cross-references between examples and theory, an informative but restrained layout. The clear structure helps people with different backgrounds to better understand the planning process. Professionals can better understand innovative theories and the connection between theory and practice thanks to the example-oriented structure, the notes and the glossary.

Non-experts can rely on the detailed narratives and rich diagrams in the example chapters to understand key planning processes. However, the book’s perspective on planning focuses on social aspects. It leaves open how nature can be included as an important stakeholder in planning and how the process should change to adapt to climate challenges, for example.

A must-read for planning students

Furthermore, the examples focus on Europe, with a brief mention of the United States. Some non-European planning projects would be quite interesting for research and discussion. The European examples are sufficient for new insights, but exploring more projects in different contexts and developing theories, regardless of success or failure, would make the planning mechanism and theory more robust and universal.

This book is not a substitute for a comprehensive planning textbook, but it is innovative: a must-read for planning students who have mastered the theory but have little practical experience. It is also recommended for planners, politicians and others who are constantly looking for more efficient ways of planning.

The text was written in the “scientific writing workshop landscape architecture” at the TUM Chair of Landscape Architecture and Transformation with Prof. Udo Weilacher. As part of the seminar, students select specialist literature and work together on individual book reviews.

What value do undefined spaces have in a city? Dorothee Rummel poses this question in her dissertation “Undetermined spaces in cities: The value of residual space”.