Working within Karl Schwanzer’s iconic “continuation of the street in enclosed space”, the concept treated the Bowl as a single, circular stage. A 360° panoramic film wraps the upper wall with a continuous visual score, synchronized with a specially composed surround soundtrack.

The narrative is structured in movements, echoing the form of a classical symphony: calm, expansive passages alternate with rapid, energetic sequences. Abstract motion, material textures, light streaks and mechanical details merge into a visual language that hints at engines, speed and precision without relying on straightforward product shots.

By extending the space visually into the distance and playing with tempo, contrast and scale, the media design turns the Bowl into a resonant chamber for the “inner life” of the brand.

‍

Visitors arrive in the Bowl after moving through the museum’s themed islands and ramps. In this final space, they are surrounded by the 360° projection while sound travels around and above them, shifting focus and intensity like orchestral sections.

Instead of following a linear film, visitors assemble their own associations from the layered imagery and sound. The experience feels less like watching a commercial and more like standing inside a moving, time-based sculpture.

The climax of the exhibition route becomes a moment of immersion and reflection, where the products “automobile” and “motorcycle” are perceived in a dynamic, emotional context rather than as isolated exhibits.

‍

BMW needed the Bowl to be more than a spectacular hall: it had to become the emotional high point of the museum and a condensed expression of the brand’s identity.

The task was to create a media experience that could fill a monumental, column-free space without feeling like an advertising film, speak to car enthusiasts and casual visitors alike, and leave a memorable imprint long after the visit.

‍