Author Archives: Maridia Kafetzopoulou

Factory Signs!!

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Hi Everyone!

First thing tomorrow: laser cut on MDF and spray pain a colour that looks like metal ( since we can not laser cut on metal)

red line: cut

blue: score

green: hatch

Any feedback would be great!!

xxxxx

M

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Presentation Text

The Cinematic City

‘’Using Film Montage to Create transitions through Architectural Space’’

 

PINEWOOD

 

  • My inspiration and point of reference is to use Pinewood film studios as a cultural factory, as such I began to explore the production process used in motion pictures. Instead of focusing on film narrative or the sets in which the story takes place, I was interested in the various narratives that exist during the process of filmmaking; The sub-narratives, which create the story leading to the final stage of the production line.

 

RECON

 

  • Here the model illustrates a horizontal plane where only the director (can move through seamlessly and through the process of production, is broken down into a world consisting of performance spaces, separated by doors. In the process, creating a path in which the viewer travels from door to door, room to room and creates one continuous narrative, which is the making of a film.

 

  • The model shows a continuous planametric surface, which is organized through the vertical elements and thresholds one must pass through. The door becomes the editor at the moment of transition from one space to the other.

 

  • However, what was interesting for me is that in reality this factory uses the door as a threshold to pass through from space to space, where the tool they are using in order to make their product, which is the film, is the erasure of threshold.

 

FILM EDITING

 

  • When watching a film, the absence of visual continuity seems natural, since we perceive film narrative through fragments. In film we are dealing with immediacy, an instantaneous jump from one space to another, there is no threshold. In film we are also dealing with sequence. An interesting experiment to indicate the effectiveness of film editing, is the Kuleshov Effect, a mental phenomenon by the Soviet filmmaker Lev Kuleshov. by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.

 

  • I was intrigued by the idea that in the Factory of pinewood studios and its product, where in the first one the threshold is not there and in the other one the threshold is there, both work in a sequence and create continues narratives through fragments.

 

  • Having these questions about thresholds and sequence, my project is looking at the Architect as project. The Architect is the Factory that has the knowledge and the ability to constantly produce not only one type of space but many types of architectural spaces. Like pinewood which provides the equipment to produce any type of film. The role of the Architect becomes similar to that of the director where the question is how his streaming and find links from one scene to the other.

 

 

RENDER VIEWS

  • The product of this factory is transitional spaces that I am using to question how we as architects move forward from project to project.

 

  • At the end of an Architect’s carrier he might end up building several buildings but the building should never be the product. The building is the product through which the architect attempts to answer a question.

 

  • What I am really trying to examine is the issue of thresholds, editing and sequencing.

 

  • We as architects so often kind of neglect the in-between space so how do we use that productively, how do we construct architecture as scenes of buildings, not one building.

 

  • The singular doesn’t matter but the sequence together. Nothing exists in isolation everything exists and is part of the sequence.
  • What really matters more in terms of the arc is the relationship between the project that proceeds it and the project that follows it.
  • What I have designed is 15 fragments of buildings or rooms, which are conventionally considered the realm of architectural production; the product in itself is not really as relevant as the questions I am using to stream them together. These fragments could be any type of building or room that the architect is dealing with.
  • My rooms are: the Artist studio, the space of the Factory, the room, the open plan office, the traditional Japanese room, the terrace, the elevator, the building block, the court yard, the corridor, the directors room, the green room, the film stage and the cinema.
  • My question now is what could happen if I could design this mechanism that would link them, what would this mechanism be?
  • Using as a starting point my first model where I used the door as a threshold to move from one space to the other, I wanted to explore more what the door does in architectural terms.

 

What is the door actually on a literal and on a metaphorical level?

 

  • What I realize is how limited the project of the door is. Only a few Architects have given attention to the element of the door . Here are some great inspiring doors.

 

  • On a daily bases we use some really banal, shitty doors.

 

  • The shape of the architecture can become really extraordinary but the element of the door remains unchallenged.

 

UNFOLDING DRAWING

 

  • Reading the text Figures Doors and Passsages by Robin Evans, I realized how much the door has shaped how we talk about architecture today.

 

  • Here in this drawings we have the conditions of the super compartmentalize experience where the door is responsible for the organization of space.

 

  • The more doors, the more thresholds we add on to a room the more we change the conversation between the horizontal plane and the vertical plane.

 

  • By trying to think about spatial organisation without the door, i made reference to the traditional japanese room…Where the tatami room has this condition of the horizontal plane that unifies the space because the threshold is not only horizontal but is also vertical, without the vertical being physically there. In this case the horizontal is responsible for the organization of space.

 

  • In my project I erased the door as much as possible and translate (substitute it) it with something else, in order to sequence all of of these spaces together.

 

  • I want to remove any type of threshold like the film does. Because when we put the door what we really doing is putting up walls and corridors and as a result we are constantly negotiating spaces by in-between purposeless spaces.

 

  • My proposal puts forward a spatial mechanism that links all the suggested spaces in a cinematic and therefore sequential manner. Just as a film moves from scene to scene, or from event to event, i am suggested the movements between rooms.

 

 

 

 

 

HALF DRAWINGS

 

  • This mechanism exist only in the form of ‘’half drawings’’.

 

  • The Tool which this mechanism works is the scale of the horizontal plane.

 

  • All of the spaces have as a common reference an axonometric horizontal plane, which according to which scale you are reading this plane, the drawing instantaneously takes you to another space.

 

  • The way you are going to position these drawings one against the other each time is going to give you another spatial condition.

 

  • This mechanism can give me endless possibilities of these conditions.

 

  • The film it manages to zoom in and zoom out , it offers you a different perspective of the thing without having you to change anything.

 

  • Similar to the film what I am doing is changing the perception of the space by using the scale.

 

  • By doing this I erased the door and now the relationship between the horizontal plane and the vertical is not any more defined by the door but by the scale of the horizontal plane.

 

  • The erasure of a key architectural element allows us to define the transition between spaces in a different way. The introduction of a cinematic and sequential transition is introduced, experiencing rooms and moments of the proposal in different perspectives and planes…..

 

 

 

 

 

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White book Printed! + 1 drawing which I am still working on+(presentation tomorrow !)

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Presentation 1360 words!

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White book

Hi everyone

today I was working on the white book. I was not feeling very well so I didn’t go to school to laser cut the box for my drawings. I will have the box and the 3D print done on Sunday morning. ( I used the lab next to school). Now I am working on presentation.

What I have left for friday and the weekend is to work on 1 big image and fix some of the half drawings.

 

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Finally got it right! saturday will be ready!

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Plan update – I am back on the horse!

Tuesday-Wednesday-Thursday

Working on making all layers of the half drawings work properly. I was thinking not to present them through print drawings ( I will have them printed) but present them digitally. By doing this I think it would be much clearer the effect of multiple scales.

I need also to practice what to say while performing each layer.

Friday

I was thinking that it would be nice to design a box for the half drawings ( I will sketch today something)

 

Saturday – Sunday

1 image of all the spaces together on multiple scales on white render

White book update. (Most of it is done, I need to add the work of term 3 half drawings + renders)

Monday

text presentation

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Working on presentation

The Cinematic City

‘’Using Film Montage to Create transitions through Architectural Space’’

 

PINEWOOD

 

  • My inspiration and point of reference is to use Pinewood film studios as a cultural factory, as such I began to explore the production process used in motion pictures. Instead of focusing on film narrative or the sets in which the story takes place, I was interested in the various narratives that exist during the process of filmmaking; The sub-narratives, which create the story leading to the final stage of the production line.

 

RECON

 

  • Here the model illustrates a horizontal plane where only the director (can move through seamlessly and through the process of production, is broken down into a world consisting of performance spaces, separated by doors. In the process, creating a path in which the viewer travels from door to door, room to room and creates one continuous narrative, which is the making of a film.

 

  • The model shows a continuous planametric surface, which is organized through the vertical elements and thresholds one must pass through. The door becomes the editor at the moment of transition from one space to the other.

 

  • However, what was interesting for me is that in reality this factory uses the door as a threshold to pass through from space to space, where the tool they are using in order to make their product, which is the film, is the erasure of threshold.

 

FILM EDITING

 

  • When watching a film, the absence of visual continuity seems natural, since we perceive (understand) film narrative through fragments. In film we are dealing with immediacy, an instantaneous jump from one space to another, there is no threshold. In film we are also dealing with sequence. An interesting experiment to indicate the usefulness and effectiveness of film editing, is the Kuleshov Effect, a mental phenomenon by the Soviet filmmaker Lev Kuleshov. by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.

 

  • So I was intrigued by the idea that in the Factory of pinewood studios and its product, where in the first one the threshold is not there and in the other one the threshold is there, both work in a sequence and create continues narratives through fragments.

 

  • Having these questions about thresholds and sequence, my project is looking at the Architect as project. The Architect is the Factory that has the knowledge and the ability to constantly produce not only one type of space but many types of architectural spaces. Like pinewood which provides the equipment to produce any type of film. The role of the Architect becomes similar to that of the director where the question is how his streaming and find links from one scene to the other.

 

 

RENDER VIEWS

  • The product of this factory is transitional spaces that I am using to question how we as architects move forward from project to project.

 

  • At the end of an Architect’s carrier he might end up building several buildings but the building should never be the product. The building is the product through which the architect attempts to answer a question.

 

  • What I am really trying to examine is the issue of thresholds, editing and sequencing.

 

  • We as architects so often kind of neglect the in-between space so how do we use that productively, how do we construct architecture as scenes of buildings, not one building.

 

  • The singular doesn’t matter but the sequence together. Nothing exists in isolation everything exists and is part of the sequence.

 

  • What really matters more in terms of the arc is the relationship between the project that proceeds it and the project that follows it.

 

  • What I have designed is 15 fragments of buildings or rooms, which are conventionally considered the realm of architectural production; the product in itself is not really as relevant as the questions I am using to stream them together. These fragments could be any type of building or room that the architect is dealing with.
  • I just pick them because these where my references through out the year.
  • My rooms are: the Artist studio, the space of the Factory, the room, the open plan office, the traditional Japanese room, the terrace, the elevator, the building block, the court yard, the corridor, the directors room, the green room, the film stage and the cinema.

 

  • So my question now is what could happen if I could design this mechanism that would link them, what would this mechanism be?

 

  • Using as a starting point my first model where I used the door as a threshold to move from one space to the other, I wanted to explore more what the door does in architectural terms.

 

UNFOLDING DRAWING

 

  • Reading the text Figures Doors and Passsages by Robin Evans, I realized how much the door has shaped how we talk about architecture today.

 

  • Here in this drawings we have the conditions of the super compartmentalize experience where the door is responsible for the organization of space.

 

  • The more doors, the more thresholds we add on to a room the more we change the conversation between the horizontal plane and the vertical plane.

 

  • So I started thinking what if I have a space that is not organized by the door. So I thought about the traditional Japanese room. Where the tatami room has this condition of the horizontal plane that unifies the space because the threshold is not only horizontal but is also vertical, without the vertical being physically there. In this case the horizontal is responsible for the organization of space.

 

  • So in my project I wanted erase the door as much as possible and translate (substitute it) it with something else, in order to sequence all of of these spaces together.

 

  • I want to remove any type of threshold like the film does. Because when we put the door what we really doing is putting up walls and corridors and as a result we are constantly negotiating spaces by in-between purposeless spaces.

 

  • What I am proposing is a spatial mechanism that links all the spaces together and in a cinematic way it allows us to move from project to project from room to room.

 

HALF DRAWINGS

  • This mechanism exist only in the form of ‘’half drawings’’.

 

  • The Tool which this mechanism works is the scale of the horizontal plane.

 

  • All of the spaces have as a common reference an axonometric horizontal plane, which according to which scale you are reading this plane, the drawing instantaneously takes you to another space.

 

  • The way you are going to position these drawings one against the other each time is going to give you another spatial condition.

 

  • This mechanism can give me endless possibilities of these conditions.

 

  • The film it manages to zoom in and zoom out , it offers you a different perspective of the thing without having you to change anything.

 

  • Similar to the film what I am doing is changing the perception of the space by using the scale.

 

  • By doing this I erased the door and now the relationship between the horizontal plane and the vertical is not any more defined by the door but by the scale of the horizontal plane.

 

 

 

 

 

 

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hahaha under my presentation file I have all these documents!where do I start?!

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Questions from the Brief (reminder)

How does your project sit within the overall unit agenda?

What is its identity?

What are your historical and contemporary precedents?

How do you define your thesis in a sentence?

What is the relevance of your project to our broader cultural context?

Does your vision require a tabula rasa on which to sit, or does it spring from the existing context?

How do you articulate the distinction between your project, its models, drawings and images?

Do they each have a role to play within your body of work?

How do you use the medium of the drawing to overlay the material production of identity with its more conceptual conversation?

What are your technical precedents, and what is your material and structural context?

Who are your collaborators?

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Working on half drawings

photo photo copy

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Green room

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The Factory + The room

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Corridor (more to come)

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Artist Studio (more rooms to come)

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Film stage room + cinema room ( still have to photoshop the images )

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Directors Room

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450 WORDS + 5 Images

Cinematic City :  a factory that generates experience through crossing thresholds

The project draws parallels between film and architecture by engaging and addressing the complex and interwoven relationships between the virtual world of film and the built environment in order to form a type of cinematic architecture which allows us to read and experience the city in a different way.

When watching a film, the absence of visual continuity seems natural, since we perceive the film narrative through fragments. This is similar to how we perceive visual reality. When the human eye blinks it too creates visual fragments, which our brain then links together.

Since visual discontinuity is natural to human’s perception and experience, the project explores whether the technique of montage could be applied to architectural design in order to create a coherent whole.

Film editing is the linear assembly of myriads of film fragments, that if viewed individually can have a certain meaning designed to invoke a particular feeling in the viewer. However, when these same shots are spliced together in a particular sequence they create a continuous narrative or can even change the narrative, when moved deliberately within the sequence.

In a similar way to montage, I started to work on the interaction of sequential drawings.

Originally, I created a horizontal plain that the ‘director’ can move through seamlessly that the audience can more through seamlessly, but through the process of production, is broken down into a world consisting of performance spaces, separated by doors. In this process, I created a path in which the viewer travels from door to door, room to room and creates one continuous narrative, which is similar to the making of a film.

On a later stage, I started to create drawings in which two different drawings coexist, that form a shape, having as common reference point an axonometric horizontal plain.

Drawings of multiple scales e.i a drawing of an elevator 1:…. scale placed next to a tatami room 1:…. scale that together they form a perspective room, or a drawing of a block of stores 1:…. scale placed next to a courtyard 1:…. scale that even though they are really different individual drawings placed next to each other they create a complete image. Seeing this image through a rendered view you think that you are in one place but at the same time you can be in another one.

Finally placing all these fragments of different scale drawings next to each other you form a bigger building-image that exists harmonically eventhought it can transform you on many different places simultaneously.

Each of these drawings can have multiple readings according to the emotional state that a person has when seeing them. The relationship between horizontal plain and vertical plain is defined now through scale

 

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Tatami Room Render – drawing + views ( more rooms to come )

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List of interiors to do – any more ideas are welcome

1) Studio

2) Factory

3) Tatami room

4) The door

5) Diploma corridor

6) Entrance

7) Green room / film set

8) Waiting area

9) Directors chair

10) Cinema

11) Open plan office

12) House

 

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working on drawings

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Internal views Update

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Hi Everyone,

For the past days I was working on some interior views of my model. My intension is to show different readings coming from the same plan depending in which scale you read the drawing.

xxx

M

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White interior views

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White book Update ( Booklet famous doors)

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White book uptade* Chapter 4 From A to B (Booklet Exercises)

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White book update

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Experimenting with film

I  am trying to learn how to use animation in rhino. For tomorrow I want to make a short walkthrough clip of my model.

 

xxx

M

 

 

 

 

 

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Jury feedback

What is the Factory?

  • What is the Product? What is being produced?
  • It needs a form of product then can be looked from backstage and front stage.
  • What is being produced is a sequence in emotions in the same way that a movie.
  • Time line
  • Compose your sequence now!make your product !
  • Pairing things with other things create emotional and phenomenological responses and that become kind of interesting form of production and the spaces are actively forming experience.
  • Interior views? How you move from space to space?It would be very interesting to follow this filming sequence in a kind of logic through some internal understanding.
  • If it is phenomenological be careful not to trap into clichés
  • The most interesting part of the Kuslohov’s effect is that is completely controlled and bias.
  • It is about you being the director and controlling what one sees and you completely limit and rule what one should feel and see.
  • The drawings of the model is an idealized version, are very interesting very powerful almost better than the model
  • Find a way of describing the fragments of the model filming them, taking pictures of them , composing them
  • How emotions can emerge from this juxtapositions of things
  • Within the picturesque start a conversation of the notions of relationships and the idea of composition

 

  • Allow it to be wage and ambiguous

 

  • You are not trying to construct a film narrative

 

  • You are not trying to an understanding of the content of the space.

 

  • A conversation about space and scale and architecture form.

 

  • You use lighting and color to introduce certain qualities that are beyond the narrative

 

  • Evolve your vocabulary in the form of sequences – different montage technics

 

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Absalon 1964–1993 (Reference from Jury)

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Israeli sculptor. He adopted the name Absalon on his arrival in Paris in the late 1980s. During his short career he achieved widespread recognition for the 1:1 scale architectural models that he constructed of idealised living units. These wooden models, painted white, demonstrate an obsession with order, arrangement and containment, and have associations both of protective shelters and monastic cells. They were designed to be placed in several cities and to function as living-pods for the artist as he travelled. Exhibiting a series of six ‘cellules’ in Paris in 1993, he described how they were fitted both to his body and to his mental space, but were also able to condition the movements of his body in line with their idealised architecture. Although he denied their apparent utopianism, the sculptures can be viewed as the reduction of the utopian aims of early modern architecture (as seen in the work of the Constructivistsde Stijl and Le Corbusier) to the level of individual subjectivity. This suggests both the failure of architectural social engineering and its inevitable basis in subjective, anti-social vision. Absalon’s habitational units also have an element of protest. In an interview for the Cellules exhibition he stated: ‘These homes will be a means of resistance to a society that keeps me from becoming what I must become’.

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Presentation update

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Presentation

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Working on the last chapter of the white book. Renders of my last model

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working on Outline of presentation

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inspiration

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I found these drawings from Elena Palacios Carral (dip 9 2011). I don’t really know what the her project was about, however I like the aesthetics of her plans. how I read the drawings is that the same plan transforms into something else which is something I want to achieve as well with my plans.

 

xx

M

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White book update

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Working on White book

 

 

 

 

Hi Everyone,

the past 2 days I am working on the white book. Tomorrow I will continue with the project. My aim for the crit is to have a series of plan drawings + Text of my Thesis on Cinematic Architecture + the first version of the white book including all my work I have done until now.

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xxxxxxxxxx

M

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Table of contents

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working on the Plans

Hi Everyone,

Following up the conversation we had last Tuesday I am working on plan drawings. I am trying to figure out how my plans can have this playful element of jumping scales in order to create a cinematic reading of Architecture. In the first picture my intention is to draw an interior court yard, but if you look closer another reading of the drawing is revealed and  the courtyard transforms itself into a square building block.

In the second picture my initial intention was to draw the plan of a skyscraper. Another reading I could give to the drawing is the second floor lever of a house surrounded by a terrace.

 

xxxxxxxx

M

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Update

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First version of the plan

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working on the plan

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Working on Presentation….

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working on the plan.. jumping jumping scales

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Update CNC MODEL

Hi all,

Screen Shot 2015-03-09 at 21.26.30  I finally finished all the cmc files!Some of them will be ready on Thursday some on Friday morning. Tomorrow I am laser cutting the base of the model and start render some views.

Screen Shot 2015-03-08 at 19.16.09

xxxxxxx

M

 

 

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3D model update

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CASTING

photo 4 photo 5 photo 2 photo 3 photo 1c

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CNC files

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model update

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3d Model update

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White Render – ref

8 paper-model-02 paper-model-04 Wip_Tuto_01-01 room__s_white_render_by_axel_redfield-d4tdhkh b45ce4182c5971d34efc584f1759fb87 vp_hdri-house-preview_01_060

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Cast- model- update

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MDF model

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Model making – Cinematic Architecture

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Searching for the site.update.

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Searching for the site of the project

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The factory is the in-between!

 

 

 

 

 

Working on the second version of the drawing…..

 

 

 

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Update

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My work so far….

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FINALLY IS STABLE!

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Series of moulds sketches, Body-Door Relation ( more to post later today)

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1:1 laser cut door for BODY- DOOR animation

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Comparing factories!

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The Horizontal is the medium in charge of the organisation of space. What does this mean???

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Working on the Drawing…..

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cast 1st model on the way

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Anatomy of a Gag in Jacques Tati’s PlayTime

http://filmmakermagazine.com/88157-anatomy-of-a-gag-in-jacques-tatis-playtime/#.VM-vuktRf1o

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Andrés de Vandelvira, Capilla de El Salvador,1540

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Sensing spaces Exhibition

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Sensing spaces: Eduardo Souto de Moura with his untitled installation.

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Update

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Text Presentation ( only the first pages is finished) post later drawings

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Drawings for presentation

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Hi Everyone,

I am working on the my drawings.The drawings above show different spacial arrangements and conditions of privacy. What is the culture of the door: the vertical and horizontal compartmentalisation (in the case of the traditional Japanese house and the tatami room)

Now I am working on the other extreme: NO door case, open plan, Loft etc.

All the different conditions are part of a series of drawings (the size of the table) which are part of my narrative.. (PIC 1,2,3 are part of the series.)

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Storyboard__ ( 2 spaces included)

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(Book) Break it into Chapters!

Screen Shot 2015-01-19 at 14.21.01Hallo,

 

The past two days I am working on 6 Chapters of my book.

I wrote a text for each Chapter and now i am working on the drawings.. These Chapters are Fragments of the project which they don’t necessarily follow this order ( 1,2,3…. etc) .

1) what is a door?_ Door way component_Standard dimensions

2) Types and mechanisms

3) 10 Famous doors in History

4)  10 Famous doors in Movies

5) 10 Famous door handles (pull handles and door knobs)

6) Door & Memory

I will post later today text for each chapter + drawings+ storyboard.

xxx

M

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Explore Format

Holla!

For the past 3 days I am trying to Explore my format. I went back to the idea of the book because I felt that at the end of term 1 I was rushing, I didn’t have time to explore it and I don’t like to leave things unfinished. :)

283_lBy the way, I found out that this laser cut book I was looking as a reference was make by Olafur Eliasson studio!

So….I would like to explore what a cinematic-architectural experience could be….

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The red box depicts the volume of the book. The size of it is A2 with an aspect ratio 16:9 (cinematic aspect ratio).  The idea is that while you are flipping the book you are moving through different spaces which in reality are not necessarily link to each other. By that means, the page represents a total and instantaneous displacement of one field of vision with another, a displacement that sometimes also entails a jump forward or backward in time as well as space.(an instantaneous displacement that we usually experience with movies.)

Screen Shot 2015-01-15 at 17.58.19 Screen Shot 2015-01-15 at 17.58.52What I like most about the idea of the book is that its form allows me to ‘join’ and ‘cut’ the spaces at the same time, but at the end what we perceive while we are flipping the book is a continues steam of linked spaces.

xxxx

M

 

 

 

 

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Happy New Yearrr!!! some photos of my totem :)

IMG_8264IMG_8330IMG_8961 IMG_8289 IMG_8254 IMG_8244 IMG_8801 IMG_8405 IMG_8318

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The World of Doors

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How to get from A to B, vertical movement

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Doors- Plan- Exercises

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Series of exercises

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Isotropic Environments

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How do I get from A to B?

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Drawing in progress world of doors

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The Evolution Door Evolves…..

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The Evolution Door!

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The world of Doors…….

  1. Swing Door
  2. Self bolting Door
  3. Dutch door or stable door
  4. Garden door
  5. Sliding doors
  6. Bypass door
  7. Pocket Door
  8. Casement door
  9. Revolving Door
  10. Pivot door,
  11. High Speed Door
  12. Automatic / Sectional Door (sensor, switch or Power assisted door)
  13. Roller Door
  14. Up and over Doors
  15. Inward opening Door
  16. Rebated Door
  17. Evolution Door
  18. Trap Door
  19. Blast proof Door
  20. Jib Door or Blind door
  21. Pet Door
  22. Composite Door
  23. Saloon Door
  24. Batwing Door
  25. Lourved Door
  26. Wicket Door
  27. Tambour door
  28. Bifold Door
  29. False Door
  30. Barn Door
  31. Ledge and Brace Door
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