Firstly, i want to show some footage of what i’ve been recording. I’ve attached the camera on my bicycle and its allowed for a much smoother tracking shot that i achieved initially.
Here’s some footage
So I’ve written some of my thoughts about what i want the project to be and what i think it is arguing for. Obviously, this still needs quite a bit of work but i think it has allowed me evaluate what i’m trying to comment on in a larger scale. I’ve attached images and some videos for the sake of illustrating my thoughts.
I would like to consider this project as a way to understand what the interior really is and the ways in which we consume and inhabit it. For me, the enfilade proved itself to be fundamental in the process of combining a variety of spaces hence, allowing for a continuous experience take place. While I created majority of the footage with animated material, the experience of the space was evident as the camera moved through an endless suite of rooms. While I considered the palace as an interesting framework and typology to work with, the 18th century construct of the enfilade proved to be an interesting means of experiencing space. It was not until the invention of the corridor that privacy and segregation was implemented within the interiors of our daily lives both at home and in the work place, creating increased levels of threshold within buildings.
I also questioned the way architecture is produced where fragments of buildings and past references have nonetheless influenced us in the way we think and experience these places that we constantly revisit. Until very recently, space and architecture found itself physicalized only in themselves or the drawings and photography of them. With the abundance of imagery and material available today, a new form of the interior has found itself evolving fast. Computer aided design has nonetheless been crucial to the way we design for quite some time now. From creating incredible renders and fly-throughs of buildings, we have found architecture realistically and convincingly portrayed in the form of pixels. More recently, architectural representation has found itself steadily becoming more precise and complex, allowing for an enhanced experience and extremely dynamic architecture to take place.
For instance, the Barcelona Pavilion so happens to be one of the most rendered buildings, where we are able to find endless iterations of it online. On top of that, interactive walk-around games have been made specifically for the pavilion allowing for often fictitious yet seductive experiences to take place adding yet another layer to the distortion of the Barcelona Pavilion’s authenticity. One could even question the validity of the building that sits on the site now as it too is a replica of what was originally there. If you watch the video I’ve posted below, the ability to reproduce space in this way, whether it is experienced through VR or a screen, allows for spatial experience. It is already quite common for architectural offices to use virtual reality with clients, projecting projects to a level of precision capable of captivating us.
Here are a few videos that show this quality.
If we consider this further into the space of gaming, we can take examples such as Counter Strike and its immense community where hundreds of thousands of people find themselves immersed in high-resolution and detailed interiors of carefully designed maps. The best players are said to have familiarised themselves with the spaces so much that they are able to find the most strategic positions where slippages in openings allow for perfect vantage points. These maps experienced for long hours of gameplay, where each player finds him/herself navigating around spaces and interiors that are as valid as the ones we inhabit in our everyday lives. Gaming has generally become more realistic over time, often projecting tantalising fantasies and versions of our world. On the same level, movies have continued to fictionize their spaces through the use of not only sets by increased CGI. Through this act of fictionalising, we are nonetheless blurring the lines between the real and the imaginary. If we only consider the amount of time gamers spend playing, how can we not acknowledge the validity of its architecture? Where it is perhaps experienced more than the buildings around us.
Accuracy and relevance is ultimately what I want to point out and the ability to make space in a domain that is so distant to what we have understood as architecture in its physical sense. With these examples, we can evidently find that architecture has found itself physicalized in a variety of mediums, now capable of doing much more that we could have possibly expected. Architecture has also for the first time found itself sharing a platform with Game designers through accessible game engines such as unity and unreal, where both disciplines can constantly learn from one another. As we shift in and out from the virtual to the real, the interiors we inhabit generally find themselves fragmented and compartmentalised into spaces that we use. My ambition here is to find a way to link up these real and virtual experiences into a common thread and to potentially create a model of the city that is continuous and compelling.
By working with the format and the medium of a film, I will begin to combine real footage of spaces, mainly commenting on a variety of thresholds, where I will be able to utilise them as spaces in my enfilade. While doing this, I will continue to enhance the animated and virtual spaces even further, getting to a level of precision and resolution that is convincing to the eye. By splicing these together, two completely different interiors from separate formats will exist in a common plane. With careful transitions and the utilisation of openings, spaces will connect through multiple dimensions and exist in a common line of a moving camera, steadily tracking into this endless journey. By finding a common medium of the moving image, the continuous effect of the enfilade will be created by a precise understanding of movement, time and duration. These are the key elements that will bind all these different spaces together, real or fictional. What I am trying to argue for here is to consider the validity of a new interior, one that finds itself bouncing back and forth seamlessly from the virtual and the real. Moving through the framework of the enfilade, a super-linear, continuous and never ending sequence of interiors will inevitably disorientate us and our distinction of real footage and animated footage. As a way for these two very different and distinct spaces to place, the film will combine a variety of experiences while cataloguing and acknowledging and perhaps through this, a new interior will be defined.
This will form a relationship between these two forms of architecture as we travel from space to space.