Author Archives: Felix Brinkhege

Zombie Trash

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(n)imby

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vault/street

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in the far distance

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office view / procession to the peak

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view from radio tower

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section/perspective WIP

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not sure which crop to use… also not sure about the colors and whether to put people? have to work on sth else for now…

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new try

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don’t really know what kind of drawing will come from this… maybe some kind of sectional perspective. anyhow, there will be city below/beneath it and public set-backs..

 

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3 layers of program WIP

 

 

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these are the start of the the plan (even if it does not look much like it)…

as it is crucial to better discuss what the mountain does to the city, the mountain transforms at its foot (it absorbs context). the first two are mexico city (a pyramid/monument – but with neufert ramps and staircases) and Naples (an inverted stadium allowing for watching the city as spectacle – walter benjamin described it as theatre).

The general program for its surface can be described in 3 layers: 1st – a ring of public infrastructure at its foot (between the openings), 2nd – an area of solitude/retreat as one climbs it, 3rd – the peak which is either piled on or not (sort of like a vulcano). the further one comes towards the peak the more it becomes generic (angle of repose).

the collage of athens shows that quite well how the slope makes the city withdraw itself increasingly as it rises…

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Test Render

Mother of God Plan 1

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wanna keep cities unified through the white, so the gradient of trash/waste from the street level to the mountain peek is evident.. but city still needs to be worked on… :/

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common ground/fate: the tale of 8 cities

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Its Berlin, Delhi, Accra, Guyiu, London, Naples, Tokyo and New York… Dunno how I’ll be able to finish tracing whats outside the circle but its kinda necessary for the figure ground & aerial :/

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Growth Rings Berlin

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part of the introduction to discuss berlin’s growth rings – and the devil’s mountain and others within its city walls. it’ll be part of the movie. eventually, the magic mountains site will be site-less but berlin still is important as a precedent for an island without exit for its refuse.

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Fresh Mountain Water

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Mother of God Plan (sketch)

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… as i was not entirely sure of how to approach this, i started with a quick collage. The city probably should fill the entire canvas. i felt like figure ground was important because of the public nature of the space/void, but as i’ve been working on it, i now think it is better to PS actual satellite imagery… I can then trace that and use it for aerial perspectives..

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Option I – Void in the City

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maybe here the people work better? woking on option II now…

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Pieces for model cast

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Still not there… :/

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Natasha was right; the people were totally over-scaled… but i still don’t like the image – there’s sth wrong with it.

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Bottle/Logo

Bottle 1

Logo Bottle

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“In the Future” Collage WIP & Logo for Water Bottle

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What name should the water have? I thought of the project being a global phenomenon – hence having “no place”, which is the meaning of utopia. Utopian water sounds shit, but synonyms of it are Arcadia, or Elysian Fields. So maybe Arcadian Springs, or Elysian Springs? That kind of sounds like a regional origin – but than again its not. I am open (in need of) to suggestions!

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CNC Files

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CNC files are submitted. It has a weird scale (1:65) approx.) but I wanted to make it as big as the machine would allow it. The model needs to be cast in 6 steps/pieces so under and upper side both have shape. I am thinking about whether to cast the base (with a cityscape), too – or to CNC it in wood – or just print a Gmaps image…

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Floating Mountain Colours

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I cannot decide really if I should go with color or not… BW has sth to it as well.

Which one of the 3 versions do you prefer?

Shadows of people/idols are still missing but after that I’ll move on to the plan.

 

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collage WIP

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Floating Mountain WIP

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Mountain Building TS Version

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No sound, yet – sorry.

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Movie WIP & Additional Scenes WIP

 

 

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It is really hard to find an aerial/satellite image of a street with a closer zoom than g maps or bing has… any suggestions/help will be appreciated! I have a series of scenes mapped out, which simply needs to be executed/animated. Tomorrow I hope to overlay the animation with real/green screen footage.

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video WIP

the city/background is replaceable, for now its berlin…

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The Centre VS the Periphery WIP

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storyboard

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Storyboard sketch & beginning of 3d model; want to make it much more about the mountains relationship to the city- what if it occupies its historical centre? tokyo’s centre is the emperors park and no one can access it… read the new draft plz, I need feedback!

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It’s NOT a f**king archive.

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After this jury I definitely know what I do not want the project to be (an archive)! :)

I work on the plan now, so it starts to suggest some kind of alternative usage/program. Some of the vaults should contain buildings, some program, some are empty. I found these amazing plans of transilvanian castles & sketches by Kahn, that work with mass/solid relationships. problem is light: maybe some vaults have a oculus like the one in the mexican cave we saw… any thoughts??

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Plan: ritual/ceremonial space

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been looking at how boullee is setting up a choreography of spaces… i really wanna draw a plan for the foundations of the mountain with intersecting vault system…

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Presentation Script (reworked)

Drowning

One man’s trash is another one’s treasure. Yet, the distinction requires an act of measurement.

In an economy of visual, virtual and material overproduction every single point of reference – including ourselves – is under the constant threat of drowning. Our capability to measure is simply overwhelmed by what we now have constant access to.

The cascade of images, objects and relationships rolling over you might seem uncannily familiar – yet, their individual relevance remains inextricable.

As a result of this, the future won’t distinguish between waste and value in the same way as it does today.

Instead, there will be competing strategies of how to avoid real as well as perceived suffocation.

Both threats are equally eminent, yet manifest themselves in different realms:

Material refuse gets chucked away inside landfills – either in hermetically sealed dry tombs, or simply uncontrolled. It is estimated, that in the US within the next 60 years all potential sites suitable for landfill will be used up, while their uncontrolled growth in other parts of the world already threatens the cities producing it.

On the other hand a cascade of virtual data causes a feeling of virtual waterboarding:

A seemingly banal snapshot of Mies in front of the National Gallery epitomises this dilemma: it is not the image, but the search for the image, which drowns the project in a homogenous stream of irrelevance.

In other words: Mies’ unprecedented and unbroken authority in search for order and clarity ultimately turns against itself – achieving the opposite.

The Magic Mountain negates any attempt of imposing form, value or manifesto onto the found, but is searching for ways to utilise its inherent conditions.

Berlin

Berlin’s debris mountains precedent this current phenomenon.

The excessive accumulation of WWII refuse paired with political and territorial isolation forced the city to dispose the waste within its confined border. As a result, new cultural and geological ground was created.

But while political borders have been blurred or extended ever since, the geological ones remain intact – spaceship earth still has no exit.

Piling

The very act of piling, therefore, becomes the new craft.

Neither vertical nor horizontal, piling relies on architectural parameters such as gravity and geometry just as much as natural processes – for instance saltation or the angle of repose.

These parameters are scalable ad infinitum, but the context they are set in changes with increasing growth.

From a clear-out of the National Gallery to a snowballing roll, that rages through the city: the piles expansion fosters terror and spatial claustrophobia in the same way as it offers building resources and space for engagement.

To accumulate the latter, a network of conveyors is added to the cities exiting infrastructure. It leads to a site within or in close proximity to the city – in case of Berlin to the abandoned airfield of Tempelhof.

After the site is prepared to become a dry tomb, material as well as intellectual refuse slowly starts piling.

The cities ongoing practice of ridding itself from unloved and impractical structures delivers its demolished or replaced fragments, too, where they get buried among the other refuse. These are currently large parts of the National Gallery and John Hejduk’ s Kreuzberg Tower.

Constant Excess

The piles rising masses are notoriously unpredictable. They constantly exceed the limits set by their retaining structures.

Responding to this, the conveyor is continuously extended through a system hinging joinery, floating/swimming on top of the avalanching pile by a set of hydraulic legs on top of webbed feet – pushing itself upwards.

When the pile is about to exceed its retainer, the process changes: the peak is flattened by a rotating template, transforming waste into formwork.

The conveyor switches from refuse to concrete – fed by a machine which retreats as the pile expands.

It combines industrial shredding, sorting and concrete blending into one continuous process.

A shell is cast and reinforced, which constituting elements are harvested from the same “mess” pile itself is made out of.

The conveyor and its machinery never stop, as they’re fuelled by the cities constant production of refuse. It can only vary the blend of aggregates it delivers and therefore keeps piling on. Soon, the casts have drowned inside lager piles.

As these are slowly merging to form the base/foundation for what will ultimately become the Magic Mountain.

Dendrochronology

Within the entropy of these shifting landmasses the cast vaults form small pockets.

The refuse they hold is now drained through the openings in the retaining wall and – once again – sent to pile on top of the peak.

This process gradually reveals a network of vaults – some of which connect, intersect or aren’t accessible at all.

On the interior surface the vault has cast the imprints of its former refuse – narrating not only their own production, but also testifies to cities suppressed and neglected history.

The big clean out is also unearthing pieces of the national gallery as well as other long-lost building fragments.

Both, fragments and fossilised refuse are lit by sanctuary lights – powered by decaying gases ejected from the landfill.

Read in chronological order the different vaults form a system of growth rings – similarly to a tree trunk – but opposed to the latter, the it carries now crown.

What the hell is it?

Despite the strictly defined internal processes, the pile lacks – even defies – any specific program.

While its form and content is entirely man made, the mountain’s typology is a geological and architectural hybrid.

Its piling masses can neither be described as monument, nor do they simply pose a threat to the city. Instead the piling of raw matter itself is what establishes a dialogue with the latter.

These ambiguities or even paradoxes all derive from the fact, that piling is strictly non-hierarchical.

It knowingly disregards format, content, site and nature of what is ultimately matter, and nothing else. (Mies’ image)

For architecture the consequence is twofold. As it trades in both: virtual and material production architecture must develop strategies to withstand and furthermore utilise the cascading data, imagery and matter.

New technologies have created new formal expressions but have done little in changing the way we practise.

Embracing the pile’s refusal to comply with formal, organisational and typological patterns might become a tool instead of a threat.

In any way it would allow architects to stake their claim in the biggest, most fundamental reshaping of cultural and industrial landscape ever conducted.

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Repost & Scripts WIP

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The Cleanup (removing the cast pile)

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I somehow can’t figure out the lightning in the dome image, but have to move on anyways.. too many other things need to be ticked…

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Sanctuary lights shining for Mies

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I’d much prefer to not crop it but think this is how it has to be. if it was double page the torch would get lost in the fold :/

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Layouting

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section/interior dome&texture/diagram/Jarod Charzewski WIP

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Vignette 2

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Vignette 2 (still WIP)

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@ natasha: the white thing is supposed to be the cast; slowly covering the pile. i have to work on it a bid more, but the idea is really to have an image with the pile in its 3 stages (piling, cast, removal of trash).

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Vignette 2 (work in progress)

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Vignette 1 (out of 3)

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FT Article: 100 million for renovation

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found it!

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Lining Tempelhof

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Underneath the machine belly (WIP)

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I’m not really satisfied with the image but it hopefully shows how the machine is positioned in front of the mountain, retreating as the mountain grows (on wheels).

Onto the big section now!

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Machine Belly Diagram WIP

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Machine Belly (WIP)

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Mashine Belly

 

its the beginning of the machine, which takes in refuse to either grind it to reinforcement fibres for the cast – or just sort out its metal bits. it is – at the same time a concrete mixer & pump. I am adding some sort of skin/legs now and will place it in front of the pile.

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full extend WIP

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final destination of the pile is the tempelhof airfield (currently abandoned).

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Moment of Sealing (top of the pile)

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conveyor changes from delivering trash to cement and shredded fibres…

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Halley VI research station (adaptable infrastructure)

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Small Pile

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been working on illustrating the 3 scales (S,M,L,XL I suppose), so they contextualise more. this is the first one. I know I started with the easiest one :/

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storyboard

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Conveyor Belt in the City

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Conveyor Belt WIP

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TS spreads: big vault WIP

 

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Movie Stills

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Introduction Clip WIP

Sound doesn’t quite align yet, neither some other transitions.. also for some reason the last bid is cut off, but i have to turn back to TS now.

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TS Spreads: geological layers

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TILE

 

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Collages WIP

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Tried to sketch out some of the moments I discuss in TS; none of the collages are finished – just wondering if these are the right kind of narrative images..? There’s one more missing which looks at finding the architectural jewels/strange bastards in the mass…

 

 

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perforation of pile layers

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CNC Tile WIP

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Big Section WIP

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TS: surface of inside cast dome

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working on the cnc file for a tile which is looking at the inner and outer surface of the shell… I finally had to put some outdated M&E in there… if anyone can come up with more objects, i’d be happy! the tile is approx. a hundredth fraction of a whole dome and i intend to cast it at 1:10/1:15…

 

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TS spread: Porosity/potsdamer plz/ continuous encasement

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scalability/context – placeholder – WIP

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This spread will supposedly be looking at how the mount will interact on different scales: while its physical properties are always the same (angles of repose, height/width ratio) its interaction with the city changes a lot! … the generic shape is a placeholder; one will be able to see different objects/fragments sticking out like washing machines, building blocks to entire infrastructures – as one zooms out (might turn into a movie as well).

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Sand Removed

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Pile goes for a walk…

barchanevolution

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TS Spread: model shots

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Test Model Video

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TS Spread: shell structures

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casting set-up

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I cannot start with pouring the sand because its still too wet :/ hopefully i can give it a try tnight.

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TS spread: Saltation

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TS Spreads: Object/Vault

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Intersection Surface/Object WIP

… working on the intersection of the object and the mountain and preparing the physical model.

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earth casting diagram

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axo-section vaults & chinese recycling city

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axo section mountain

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ts

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Zoom Section/Plan WIP

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I am trying to speak about masking through scale; each time (1:1,1:10,1:100,1:1000 on screen) the camera zooms out, it looses detail. at the same time this should create a meta-bastard – one, which is creating a relationship between 2 grains . so you would know they belong to one bastard but you could never see all relationships in a singular zoom/frame… still not sure how these relationships/categories can be defined… i thought of materiality (1:1), elements (1:10) etc..

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falling debris & camera rotation

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I think it becomes a bid more dynamic once the camera is rotating. it also has the result that the lens is literally covered by the stuff. Will have to leave it for now as after effects slows down a lot with all the layers (one has to render them all together to keep the individual transparencies).

I am now onto the zoom-masking; above’s image is a children’s book, which explains a new sort of relationship each time it zooms out. will try to make my plan act in a similar fashion…

picmonkey-collage

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Zoom In / Zoom Out WIP

been trying to make the first bid of the video more dense + added a background. second part is the beginning to the zoom out: starting from the peak of the mountain and, as it zooms 5m, 50m, 500m one can see different scales of it: objects, buildings, other landscapes (still need to be drawn)

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TS…WIP

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Animation WIP2

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Animation WIP

been learning 3D animation software to have a larger variety of media, which is piling up now… if anyone has 4D cinema for mac, i’d be grateful…

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different ways of mapping/unrolling WIP

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The Mountain Manifesto

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“pile of topography”

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