© Marcus Heine from the series "Architecture of Simulation"

Tell us about the project “Architecture of simulation” selected for the Urbanautica Institute Awards? What is the motivation and the theme you addressed?

Marcus Heine (MH): The idea formed when I was assisting a photoshoting at one of the locations I would also photograph later, which is the power plant simulator. It was so astonishing to me that these facilities exist, yet so logic. The first impusle was to document the place, because it was going to close due to the German exit from nuclear energy production by the end of 2022. If you see these rooms yourself you’ll know what I mean, these just call to be photographed. However, the facility had been documented quite well, also in the documentary “Unter Kontrolle“ (Under Control) by Volker Sattel which is worth seeing very much. What fascinated me was the simulation, this idea of predicting the future if you will. So I started a very extensive research and came to the conclusing that the subject had great potential.

© Marcus Heine from the series "Architecture of Simulation"

© Marcus Heine from the series "Architecture of Simulation"

© Marcus Heine from the series "Architecture of Simulation"

What are the practical difficulties you faced in its development?

MH: The biggest practical difficulty was the Covid pandemic starting in early 2020. The list of where I wanted to go to make photographs already contained many facilties which are not easy to enter. But with the really hard restrictions due to the early pandemic, it first looked like this was going to be impossible to ever be finished. I had to cancel many trips, often only days before I would go, because of the numerous and shortly announced lockdowns. Appointments where postponed due to the very strict rules of some of the facilities especially in aerospace research, where there were no visitors allowed for over a year. So my wishlist contained quite some places I could not visit. However, for those circumstances I am very glad that I was able to finish the project with the outcome of the planned book.

© Marcus Heine from the series "Architecture of Simulation"

From an editorial point of view, what choices guided you in the selection of the final portfolio?

MH: As images, the photographs from “Architecture of Simulation” create access to places that, despite their differences, always have something in common, because they are simulations. Although the photographs are about real places, spaces and objects, these places, spaces and objects are replicas or models. They always refer to something other than themselves. The aim in the compilation of the photographs is to reveal and even more to reinforce this impression of a second-order reality. Because ultimately the question is raised here, what is reality and how does it come into being?

© Marcus Heine from the series "Architecture of Simulation"

© Marcus Heine from the series "Architecture of Simulation"

© Marcus Heine from the series "Architecture of Simulation"

From a methodological point of view, what is your approach to the medium? How do you envision or conceptualize the projects?

MH: Although I am very aware of the discourse on photography, my approach is rather straight. At the core, there is the desire to capture an image, with photography as the medium or tool. My work or motivation is based less on addressing photography itself as a medium and the issues associated with it. The topics are outlined at the beginning rather roughly, from this arise the considerations of the practical approach. Especially at the very beginning it is often a kind of collecting of first images, like a test run, which will influence the further procedure. However, nothing is set in stone, in the course of time, adjustments are always necessary, be it because there are additions to the content or from a photographic point of view. A project that is already advanced and grown, that for example already works as a series, opens new doors and leads you to places that at first seemed unreachable. And in the process I maybe even realize that this one image was not so crucial as I had thought and I will dismiss it. So it’s all more in flux all the time.

Do you privilege any camera or process in particular? Tell us about your equipment ...

MH: Tough one. I once did an interview with Geert Goiris, in which he addressed this paradoxical state of the apparatus. Namely that one would probably not show or exhibit the camera which has been used for a project in the exhibition, because that is considered bad taste. And yet this apparatus with which the pictures were recorded or made is of tremendous importance to the whole. So what about my equipment? I was shooting medium format color film for the longest time. Film for its latitude, medium format for quality, portability and cost. However, at the university I had access to high end scanners, which was why I still was using film. When every picture costs money and current film delivers very high quality, why waste all this data in the important step of digitalisation. But when film started to become more and more expensive already in 2016 and I knew that the cost of high end scanns will add to this after my diploma, I changed to a digital camera for my personal projects. Although I liked my medium format camera a lot, I am not looking back. In the end it is a tool and the switch came with some advantages, especially looking at the lenses I can use now. And the cost for film and development now can go into neccessary expenditures like traveling.

© Marcus Heine from the series "Architecture of Simulation"

© Marcus Heine from the series "Architecture of Simulation"

Does research play any significant role in your practice as a visual maker?

MH: It matters, but not in the sense of scientific research. There is no hypothesis at the beginning which leads the actions. Photography seems rather unsuitable to deliver answers after all, but it seems good to evoke questions. When I try to acquire knowledge about a subject that interests me photographically, I proceed very systematically. I save everything, write excerpts and make connections between the information. Because ultimately I want to make photographs and I have to figure out what I want to photograph and why, where that is, and how to get there. At some point I write a project discription. This makes the idea tangible for me and also serves as communication about my project, for example, if I need to obtain permits. Good research is also essential when making contacts for the project. It shows whoever you talk to that you are on the topic and that you are serious about what you are doing. Sometimes there is only one chance to get access to a place or a person and you should not miss this chance by beeing badly prepared.

© Marcus Heine from the series "Architecture of Simulation"

Any interesting books that you recommend and that recently inspired you and why?

MH: I recently bought the catalogue of the Lynne Cohen retrospective. I really admire her images, she has produced such good works. It’s strange I did not know her earlier and came across it after my latest series, because there are quite some intersections. Her compositions are so precise and they create a sense for the space she is depicting. The other one I look at regulary is Lisa Barnards “The Canary and the Hammer”. It is so well written and full of information. With the wide range of the choosen photographic approaches, the dramaturgy and the design of the book she really breaks down this complex subject.

Do you dialogue with other experts when developing your work?

MH: Since my diploma I will discuss with friends and collegues from the university, about their and my works and projects. I am not looking for professional opportunites like portfolio walks and similar anymore because I made the experience and learned that it might not be the best occasion to get real feedback when projects are in progress.

Marcus Heine (website)