Author Archives: Assaf Kimmel

A closer look at the manager’s table

The paradoxical site of the project = the architect’s deskblog

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Book in room, book in screen

Working on the switch from the screen to the room, and back to the screen. It’s based around the Named View concept – House VI was designed only for a few privileged views and is inexistent otherwise. The film pauses on the image of the house and then we go to the room. For this to work I added a few quick ‘house as image’ spreads, which will first be flipped in the room, and then 2-3 others will be flipped on the screen, connecting to the rotating model which is the living proof that this is nothing but an image……. The images of the house are here there and everywhere BECAUSE THE DIAMOND MOTEL IS A DISPERSED GEOGRAPHYblog blogg

The house is featured on a cleaning product and yes it’s a reference to Jeff Wall lol…..bloggg On my desktopblogggg

On an ad on the Tokyo metroblogggggggg

At the Tatebblogggggg

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Updated lobby scene and desk close up

And now, with colour!bblog

The night manager’s briefcase – blogggg

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The paradoxical site of the motel dispersed in the film

Some integration of the motel reality to the film, which is now stitched together to the pan through the model. blog1

transition from film 1 to film 2 -blog2 blog3 blog4 blog5

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Lobby scene

The front desk overview (manager to be standing on the right)blog

 

His briefcase (with different things but maybe still in Xray?). Also maybe the lower concealed level of the model could hold these items instead.. 170515-frontdesk-render

Teaser to new opening of film —-> wipe of context from city to desert —-> once again thank you Maxime for a great reference

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The motel lobby and the manager

“The impersonal nothing represented by the hotel manager here occupies the position of the unknown one in whose name the church congregation gathers. And whereas the congregation invokes the name and dedicates itself to the service in order to fulfill the relation, the people dispersed in the lobby accept their host’s incognito without question“.

Siegfried Kracauer, The Hotel Lobby

 

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Jeff Wall’s room is his tableau

Image in progress –

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original

JW

The tableau from the film – blog2

Motel bar scene in progress –

blogTerrible hipster video called Motel Pool. What has become of motels?! it’s so bad it’s good.

 

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Room VI

Still want to add a bellhop in this one, so pls imagine one arriving a la Tim Roth blog111

Debating the context of House VI + the column!blog1

 

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The Bellhop

I am now officially obsessed with Tim Roth as a bellboy and the Hotel Mon Signor in the film Four Rooms. Thanks Nicholas and Maxime for insisting that I watch it.tumblr_ofrppnWPD91v1we2mo1_1280

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More bookings in the motel

Barragan’s roomblog2

 

The missed call(s) which created the Satellite Towers in Mexico City! blog3

Eisenman’s room – there is a clue hiding in the room……. (other than the model)blog4

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The shared universe of the motel

The Diamond Motel is a shared universe where elements from the world of one fragment glide into the worlds of other fragments. The motel imagery should relate to the fictions of the three different forms of site (the book, the model and the screen).

Barragan, J. Wall, Eisenman and Don Judd (his room has a poster of New York – as he’s boxes change their location in the model from Marfa to New York)blog1Kubrick’s room – (1) the spaceship’s crash is broadcasted on TV (2) the context of the desert, which leads to Kubrick in the book, is a poster on the wall (3) The bellhop (moi) is bringing him … what?blog2

The crash of Discovery One on Saturn’s moon Titanblog3

Shared universe goals – Tarantino’s films relate to one another

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The Diamond Motel Continuum continued

Hola!!! to start the term, here is a pic of Emma and me at our absolute best on Machu Picchu ——>>>>IMG_1536

Inspired from our amazing amazing amazing trip, I tried to think of the different views in my project – types-of-views

I’ve been trying to focus on two things – refining some of the rough parts of the films, and thinking how can I change the book which was received as being the ‘weak link’ of my project at preview tables as it appeared to not be dissimilar enough to the other continuums.

Also tried to film the new paper Barragan towers so they connect the drone footage to the desert in Film #1 (what used to be the shaky footage of me in the actual desert). Now there is no sand, but a printed wallpaper of desert —

And the part that causes me the most frustration in the project – trying to smooth the tower in the aerial view which since it became slower seems like impossible to make perfect –

In the film of the model – the zoom in

Really struggling to think what can be done with the book to distinguish it from the rest. Trying to emphasise the narrative-based connection between the fragments, as with this image of the MoMa shop with Eisenman tote bags (on the left) which then found their way to Jeff Wall’s tableau etc….

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Create – Counter – Conquer!

BLOG1 BLOG2 BLOG3Also I did a photo session for the model today, here is gifi aerial view – GIF-model

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A schizophrenic site

Some of the comments from the preview tables –

*****Media and place-making – how can the use of different media be used more explicitly to form a critique (about media)?

****The role of the book in the project – currently not different enough from the film and the model

***Presence of the model in the presentation – needs to be more central, and preferably include some live performance

**Notion of time in the project

*Vocabulary of cuts

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Motel rooftop (Donald Judd) and lobby

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Images from the model in the book –

Exhibition at MoMA –

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Itinerary of Jeff Wall’s tableaublog2

Barragan’s models with the sky-to-skyline print from the model behind them – here used to make the towers appear larger than they are. So this print is a DOUBLE ENTITY just like the entire model.blog3

Making of 2001: A Space Oddeseyblog4

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Film WIP

New continuous shot of model –

In order to use the Blackmagic camera for its quality I mounted it on an extension from the tripod so it rotates away from the model (before the frame was too closed in).

I’ve been working on the transition from Donald Judd’s piece in Marfa to NYC’s New Museum with a long ‘sky-to-skyline’ wrap in which the lens is inserted. Still the lens is visible on camera.. I think to completely cover it will require to remake the Judd’s pieces so they are bigger. Alternatively, I can not do the change of focus to the NYC buildings – which reveals the lens more explicitly.

Also not sure about the speed of rotation – the footage seemed a bit too slow so made it faster in edit (especially in the first part until the mountain). Maybe it’s still a bit slow?

Transitions currently missing in film –

**Barragan towers scale change (in the image below they are in their ‘big’ state – in an aerial)

**House VI as a model on a plinth

**Jeff Wall’s tableau – from building scale to apartment scale (I think the GoPro attempts have officially failed)

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some images of the model –

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First attempt at filming the model

I’ve been trying a few different lenses with the Black Magic camera and eventually went for a 24mm one which is able to show the lower and upper level. Still trying to stabilise the rotation better and find a way of stitching the different footage together – currently the transitions are still rough.

My set up with a newly carved table! as with the track running above the residential building, I’ve been trying to film with a GoPro but it comes out really shaky so I might have to think of a smarter track.

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Model photos

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Excavating my mountain

Slowly slowly!

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Channelling my inner Patrick Blanc-

-with that vertical garden in the back. The model was still drying when I took the pic so sorry for the white glue.

the fragment on top will be Judd’s Marfa piece, here is the new Kubrick piece just for reference. Unfortunately it broke!!

Marta/Judd vs. Mexico City/Jeff Wall

New tiny house VI with the window through which we enter the house in the film.

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Welcome to The Diamond Motel

The Diamond Motel [Converted]2-01

 

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Model skeleton

 

I started making the model base which should allow me to work on the different pieces separately and replace them etc. Here is a test of the perceived linear movement and the model below –

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Highway 2.0

Barragan as a highway sculpture (Almeria’s greenhouses below)blog pm

Barragan from aerial view as a super tall structure (maybe it could work in a physical model with printed texture…) blog pm2

I added Donald Judd’s concrete boxes in Marfa instead of the White Cube fragment which wasn’t really doing a lot until now. In this instance I tried to work with a mirror (the darker surface seen on the screenshot below), so that the entire piece could rotate 90°….and the Judd fragment turns to the New Museum, obviously.   BLOGGGGGGGGGGG

 

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Also thinking of the camera arm – which should go up and down and zoom in and out. Will post a sketch of it later. In the spirit of making things too complicated, maybe the camera track could look like an additional highway?

I tried to decide on specific references for the landscapes of each fragment (from left and clockwise) –

*Barragan’s towers – The greenhouses of Almeria (good for the scale change)

*House VI – California highway number 1

*Judd – field (their original context)

*Jeff Wall – Mexico City residential area

*Kubrick corridor – NASA facility / room

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Freeway of love

View of House VI on a mountainscape, highway running below (will add a mountain-y / cliff-y texture)asdfasdf

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Maybe I can try to make it look like this –

12 miles

View zooms in -asdfasdfasdf

View rotates – House VI and the top of the mountain seem to ‘sit’ on two plinths in a gallery space – the plinths are the top of two Barragan towersglogggg

Trying to make the Kubrick scene make sense on the highway – added the rest of the spaceship behind blogggg blogggg1222222

 

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Tests for a physical continuum

Trying to figure out a future physical model – currently it’s based along an arc (a highway), where the camera travels around the fragments, as well as rotating inside the arc to simulate a lateral movement.

This GIF shows a possible end to the highway, where the scale shifts to the scale of the room. The highway becomes a table, and the the 2001: A Space Odyssey becomes a scaled down model.

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highway to table copy

In the instance below the camera completes a flip above a residential building – the ground becomes the ceiling of Jeff Wall’s tableau, the voids between the pillars become the two large windows in the photograph A View from an Apartment (with the apartment-fragment as a removable piece).

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JW for reference – A View from an Apartment 2004-5 by Jeff Wall born 1946

Trying to show Barragan’s tower as a 800-meter Burj Khalifa style monument

 

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The pattern goes from ‘flat’ to more 3D on the two sides of the highway as Barragan’s tower changes from monumental to a small highway sculptureflat depth

 

 

 

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More views tests

House VI as scaled down model -blog5House VI in 1:1 –

blog6Barragan’s tower as monument in scaleless landscape –

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The tower above a highway and also smaller than before as it appears next to a generic building on the highway –

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highway turns to table -eeee

 

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The continuous and disconnected

“Film is a search of a good composition”

-Mark Lewis

“Cameras can fly”

-Mark Lewis

More on the development of a set of views from the previous post. Trying to sketch out a sequence which will move back and forth between an aerial view of a model to ground views with different scales and places.

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House VI in 1:1 scale with the tower of Barragan matching in the scene as a street lamp post –

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Barragan appearing huge as desert / landscape monument – monument

The top of Barragan becomes a plinth for House VI as a model (in its MoMA context like in the book). Aldo Rossi on the left is another model on a plinth –  moma

Camera goes down along tower, revealing it is a monument along elevated highway – highway

 

Jonas Dahlberg like rotation (image in previous post) along the highway, revealing the 2001: A Space Odyssey fragment -kubrickBack to aerial – Highway pillars become legs of a table, and the Kubrick fragment turns into a small model

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The installation of Jonas Dahlberg works great because it has a clear translation of rotation to linear movement. Basically I’m looking for my simple magical movement between the camera and the model –

 

Artboard 1

 

 

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Cameras can fly

 

While I’m still trying to figure out what is the landscape and how we view it, here is some procrastination with the more technical part of how it could be filmed.

Conceptual wipe-out of parts of the landscape not seen in film –

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Zoom in from aerial to ground can maybe work like this with a physical model / wallpaper – sketchLooking at options for DIY camera tracks/motion – DSLR-font-b-Camera-b-font-Video-Mini-Car-Skater-for-Photograph-Rail-Rolling-font-bNew-Discoverycam-Mutifunctional-DSLR-Camera-Dolly-Track-Best-Slider-for-5D-mark-II-7D-Free-shipping

 

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Or as the films of Mark Lewis (below), which are shot with a crane going up and down, am I to operate a baby crane…?

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Mark Lewis’s film on The Minhocão, an elevated highway in Sao Paulo which has been partly closed to vehicles (48:50). The other videos in the lecture are also quite cool.

Spectre (James Bond) continuous opening shot

Jonas Dahlberg, Untitled (Horizontal Sliding), 2001

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The super (heterogeneous) ground

I’m trying to develop the landscape which appears once the desert sand is washed away. As the sand disappears, the scaleless and placeless project is injected with many contradicting scales and places. The fragments (Barragan etc. which are all in this drawing) are placed on plateaus and they become anonymous inside this super heterogeneous landscape. Trying to make it read as a one continuous thing.

Thinking about the three mediums of the project –

Film – connects visually (with tools such as the named view, the wipe, and the motion cut). Place = vision / view

Book – connects through narrative. Place = what you say about it.

Model – locates the fragments. Place =

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The landscape of Everyplace?

170201 screenshot

Working on a model of Everyplace, in which my fragments are on ‘peaks’, and will be seen if the model will potentially be covered with sand.

-in this landscape the fragments have location and scale (as opposed to being scaleless and location-less in the rest of the project).

-the landscape should have some ambiguity to it – read as either landscape or manmade, either inhabited or uninhabited – maybe like the fragments themselves which are between object and architecture.

-the fragments are quite literally inseparable now – they form together a space.

-it is a continuous and endless (concrete?) junkspace / landscape where potentially all monuments can be discovered (echoing the obsession of Borges with the notion of infinity from the seminar today, as evident in the short story Aleph).

Production:

Thinking it will require different methods (hopefully could be sprayed in the same colour to seem continuous?)

-Kubrick (on the right of print screen) – stacks from laser cut mdf?

-Barragan – maybe blue foam

-House VI – TBD

-will need to add the white cube (the elongated element) and Aldo Rossi (the round element)

some references:

Giant’s causeway, Northern Ireland

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Libeskind Micromegalwblog-line23

The Greenhouses of Almeriazv1pwmfs96vjblintcit

Salt mines in Perufixedw_large_4x

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Visual vs. Verbal

Can the fragments be casted together so they float in resin? quick illustration of what it might look like, trying to think what does it mean to have them bound together in a model, while they are connected more ‘cleverly’ in the film and in the book… maybe it could help make a point about the divide between how space exists as a visual thing or as a verbal thing.

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resin inspiration –

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(masakise.blog.fc2.com)

Clear Crystal Resin | Edition of 10 + 1AP | UK

Damien Hirst –

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Also interesting reference from the jury – HyperNormalisation by Adam Curtis, which makes a narrative that spans 40 years which makes a continuous thread between existing footage to form a very very very very biased continuum about our ‘fake’ reality.

 

And of course the man who tried to walk to the end of Minecraft –

http://www.newyorker.com/tech/elements/a-journey-to-the-end-of-the-world-of-minecraft

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The book of Everyplace

Some prints from the book – tried some different types of paper according to the content.

Glossy magazine –

Transparency (the original photo is on a light box)

Archive page

Cover-

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Desert to Rhino3D to room

New sequence to connect from the desert to the physical room via the Rhino space. The Wipe feature might be out of control at the moment.. or, if it is used often, maybe it should be introduced earlier on in the film.

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The Wipe

Thinking about the film itself as the ‘real’ landscape in this project, I’m looking at different types of cuts beyond motion cut, in order to smooth/enrich the continuum. In this version I tried to use the Wipe Cut, the Pass-by Cut and the Flash White Cut (examples below).

Does it work? I don’t know, but it’s better

Wipe Cut in Sin City between drawing to render (2:22)

Pass-by Transition (this video is in slow-motion for some reason but imagine it playing faster..)

frantic-zoom style cut

Really funny spatial cut

The Wipe cut (5:57) and the Invisible Cut right after it (using darkness), and the hybrid Match-Dissolve Cut (10:32)

Cut through time (Warning, scene might be disturbing for children :) )

And, for the shift from the desert back to the rhino space room (when we rotate 180) I want to make the shift look more like these cool Whip Pan Cuts

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Desert scene test

I’m trying to change around some things in the second part of the film (and with the first part of the sequence up to the highway scene I’m mostly focusing on smoothing the transitions).

Highway –> move from city to desert which turns the towers to a landscape monument –> erasing the scene, making the page/desert blank again —> need to connect back to the rhino space room

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House VI with you wherever you go

Personal style matters a lot when it comes to accessories. That being said, when it comes to a protective laptop case, style shouldn’t come at the cost of protection!

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Fragments revealed

Found this great 2001: A Space Odyssey merchandise at www.fabgearusa.com/2001-a-space-odyssey/

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Interesting video about Jeff Wall’s exhibition in the Stedelijk with many closed interior tableaux (A View from an Apartment at 3:00 min)

The book from the exhibition -blog3Poster from the 2013 Eisenman exhibition at MoMA about his post-functional work which includes House VI!blog5Bernard Tschumi, Mark Wigley, and Peter Eisenman at Deconstructive Retrospective event. Photo: John Hill/World-Architectsblog4

 

Jeff Wall looking for an exteriortk

‘Open Road’ by Jeff Wall which is very desert-centrictk

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An incomplete monograph

In the below updated spreads on one of the fragments – House VI – I tried to think of it as a section in a monograph, which partly due to its length, presents a very limited idea of the house which turns into fabricated material about it. This leads to the question – what information is included and how. In this case, the focus is on the physical context of the house, its scale and the transformations it goes through.

The concept of a monograph is interesting to explore further, as a format which on the one hand enables architects to situate projects within a personal worldview, at a time when the role of architects is being increasingly marginalised, and on the other hand it is a traditional format which invites redefinition / reformatting.

It also enables to draw connections between projects. The fragments are arranged and presented in the book while also being arranged in the desert.

So at this point, the concept of the so-called ‘named view’ has a dual meaning:

1. physical named view = is what creates the thresholds in the film and it is the aerial view

2. conceptual named view = curated oeuvre

And one last thing about the monograph – if all goes wrong, I can find comfort in the fact that even the worst of architectural monographs do gain interest over the decades (at least according to this article – http://www.iconeye.com/opinion/comment/item/11999-why-a-monograph)

So, is the white book a monograph of Sandpit?

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Desert scene

 

Hello and happy happy new year!

I’ve been trying to think over the break on how to develop the connection between the room and the screen/film and how could a sequence go back and forth between the two more than it did previously. I did some small concrete casts in the sand to try and create the same composition of the site model I had in term I (with Barragan and all the rest), and then take some footage of it which could play somehow together with what’s going on in the room. Unfortunately it’s not scaleless dunes like Christo’s (below), but maybe it could still work.

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Some spreads from the white book are below. I’m trying to think about the different thresholds / shifts and juxtapose them along the book side by side. blog-model-1 blog-model-2 blog-model-3

House IV becomes a D&G ad (diagram to merchandise) -blog-diagram

In the same fab trip to the Negev desert I stopped in this gorgeous monument by Dani Karavan and took some pictures -blog-dsc_0054 blog-dsc_0061 blog-dsc_0075

 

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Distributed landscape

Revealing fragments of Michael Heizer in the sandpit –

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Sand, lots of sand 

The landscape table is almost done with two pieces of Heizer. It’s hard to believe, but that’s 15 kg of sand (together with the yellow bucket). Had to take most of it out to move it. waiting for a jury in 33 to finish to start to set up.

GOING SMALL NEXT TIME

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Found my way back to the physical room

What a relief being back in reality!

Need to work a lot on refining the sequence and figure out how to move from the vertical table to a ‘sand box’ which will be on another table (and make a few actions on that model which will show on the screen hopefully)

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Change of surface

I’ve been working on this short sequence which changes the view to through a screen and then goes back to ‘regular’ view. Not sure yet where it’ll fit with the other scenes

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The Film as a Site

Tried to write the current intent of the film –

The project destabilises our reliance on images, as the contemporary construct through which we consume culture. It embraces the ‘photoshop instability’ of the image, making it an operative artefact for the production of architecture. From being the medium that flattens an event and make the final representation of it, the image becomes a starting point.

In a sequence of moments, the image is striped from its original narrative, making it referential only to what preceded it and what will follow it. In itself, it is a raw material to project onto new narratives. The subject of the image is questioned as there is a sense of uncertainty regarding which aspect of it will connect to a new scene: Jeff Wall’s inhabited apartment appears through its clutter, and disappears through a window’s view; a room appears through an aerial flythrough, and disappears as we step inside a model. The medium, the frame, the subject(s) and the orientation – together compositing the image – become tools to redefine it, and eventually depart from it. From a stable construct, the image turns to an unstable tableau.

Freeing the subjects from their context, they become scaleless sculptural geometry that can be re-read and decoded. Together with a fixed view, they make a connection between scenes. With context, scale, medium and orientation constantly being redefined, the film itself is the only possible site for the project.

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MATCH CUT could be a great cinematic technique to further explore.

It is a cut within a scene that makes sense spatially. This can be between two different objects, two different spaces, or two different compositions in which an object in two shots graphically match.

Kubrick has done it best –

matchcut

Compilation of match cuts (Kubrick at 2:05)

THE CAPTION:

Thinking how to incorporate the idea of the caption, since naming the view is important. I think I once read a text written by Brett about the evolution of the caption but still didn’t find it.

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Also wondering whether this model of the space of the film could still play some role or it’s too literal..screen-shot-2016-12-05-at-01-14-58

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Inflated Site Model

Below is an updated sequence of the film, which connects scenes that are ‘inflated’ from a centrepiece – a site model. Gradually loaded with fragments, the landscape of the Nazca Lines should go from Tabula Rasa to Tabula Plena. The objects featured are pieces of recognisable architecture with scaleless and sculptural qualities.

Disclaimer: I need to fix the shadow of the tower in the beginning so it stays on the picture on the wall, and also make a new render with less objects.

The book of House VI could be further manipulated in the spreads that are seen.

Also, sound??

 

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3D Labyrinth

The following map of the current iteration of the film shows:

-orientation shift (thick frame)

-objects which connect the scenes

-transformation of the subject: red monolith –> site model –> Zaha style flythrough in rendered space –> photograph which is emblematic of a place (house VI) –> model –> theory (book) –> merchandise (totebag) –> art (Jeff Wall) –> architecture/sculpture (Barragan) –> landscape (desert) –> site model 

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Ch-ch-ch-ch-Changes

Using the image as an artefact I’m working on a video that attempts to move seamlessly between orientations, scales and media (and time?). How can I create a smooth transition between worlds? I’m looking for clever transitions beyond zooming in and out so if anyone has an idea please let me know :)

Also, I’d like to find a way to use multiple views simultaneously + develop a clearer articulation of the different ‘named views’ –

-the aerial / flythrough

-the fragment shot

-the perspective

-the postcard / souvenir shot? (when it’s 2D)

-other?

screenshot

Lastly, there is this niiiice video I saw on Wired – smashing our expectations

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Room to landscape to room

Working on more detailed views of a tabula plena room (still with Eisenman, Barragan and Kubrick):

1. Set up view

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2. Eisenman’s view

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3. Close up in which House VI becomes the wall of the actual room (on the right side of image), and the models of Barragan merge with a picture in the back.

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4. view of the model on the wall looking to the side

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references discovered with Manolis –

Paul Smith’s working table:

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Michael Heizer’s Double Negative (the cut in the landscape in my room!)heizerColdplay’s AMAZING video:

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Between artefact and narrative

***The table as artefact is a piece of furniture that keeps things off the floor. It makes a connection between people sitting around it. It gathers a series of artefacts or unrelated artefacts. Like in a field, there is no hierarchy between the objects.

Eisenman, Kubrick and Barragan sitting around a table, while Eisenman cuts a map of the Nazca Lines together with the bedroom of House VI:

blog-161122_table-for-collage ***The table as narrative is a frame/container that draws connection between selected artefacts. It can be rearranged. It can go back and forth from Tabula Rasa to Tabula Plena. It can change scale from being a miniature to being a territory. It is viewed from an aerial view, but it can change orientation – floor/wall/ceiling.

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***The image as artefact is a stable record of reality, which projects a clear idea (not so much open to interpretation). It reduces the changing, the evolving, the monumental, and the three-dimensional into the fixed two dimensional representation. It turns culture to commodity (as artefact it can be reproduced). It’s uninhabited space.

***The image as narrative is an unstable tableau where reality can constantly be re-read and decoded. It alludes to what happened before it and what might happen next. It could easily capture a different moment in a certain sequence of events while remaining the same image.

Pairs of images as artefact / narrative:

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The table as a universe

The discussion in the jury focused on the different qualities of the image itself – single image/series of images, composition, time, allusion to what came before and after, small vs. large objects, the instability of the image… Above all, how to construct a narrative beyond the references I have?

The other part referred to the construct of the table (‘don’t let the table be the final thing’) but I wanted to do some sketches of the 3dimensionality that is created from this architecture of images, and to think of the table as a larger universe with smaller objects.

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Tabula rasa and tabula plena -blog6

Horizontal shift – blog7

The image of the table from the jury –

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Inflated Table 

Preview of the installation where 2d and 3d are switched, scale is read wrong and there is a horizontal change —-

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Constructing the table and the room

Also found a carpet!! Will try to set it up tomorrow 

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Models

Models to be inserted into the table installation. Problem for the installation – maybe – most of the models share similar perspective… that’s why for the Kubrick one I tried to do perspective from the side. I cut the pieces also for the interior of the white cube which I’ll  do later.

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What to model next

Which images should I model next in paper? The criteria: clear geometry and/or recognizable space. No people. Options below, but please suggest your own. I need a total of 3-6 images that will look good as paper models!

Thank you!!

Options:

Detail from Notre Dame du Haut77284860

 

Staircase

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Bedford square (looking more to the right)18th-century-buildings

Baraggan 90c494ad56262af439fd3a095a1bb017

The Economist Buildingeconomist_building_londonsmall

The White Cube (interior)paul-riddle-photographer-white-cube-gallery-bermondsey-london-1

Taj Mahaltaj-mahal

The Tatetatemodernbuilding_0

The White Cube (exterior)white-cube-masons-yard-by-stephen-white1536p

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Thresholds and Translation

I tried to focus on the notion of the named view and the change of thresholds from which a scene is viewed. These tests/images are meant to test how our understanding of space changes, in a world in which architecture is designed through a specific single perspective.

Here the 2d photo of the room which was translated to 3d is then photographed back as 2d – it is an image on a paper table. The light is needed to reduce details from the model which is punched in the table. Shame I couldn’t get the details of the surface of the table in the photo, it’s printed with scratches etc. Maybe need better camera and lighting.

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This model (still WIP) is a column from Zaha’s Phaeno Science Centre (Wolfsburg, Germany, 2005) is constructed according to an image by Helene Binet. The image is transformed to an object which other than its so-called named view could perhaps be seen in comparison to the room – either very small (first image against the parquet) or large as seen from the window.

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The Modern Theatre

The inhabited room and my #workspace #bananatree #macbookpro :

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From real to virtual to constructed to object:

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The Named View

Introducing paper model 2.0:

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With its Physical Named View apparatus

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And an updated render in progress:

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Through the three states of this Georgian room – the real, the virtual and physical – I can perhaps start to identify a few spaces:

The ubiquitous Pre-View / Waited Space – too clean and empty to actually be inhabited:

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(North Sea Apartment by John Pawson)

The Stylised Space – realistically possible even though in this case requires $$$ for furnishing:

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(interior by Foster and Partners)

The Super Inhabited Space:

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(image from the TV show Hoarding: Buried Alive)

And….. the view once the named view is lost (out of named view?):

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The notion of styling of space really comes through in this image from an article titled How I Became an Interior Stylist:

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The named view in regard to space relates to the contemporary curated identity. A recent project by Thailand-based photographer Chompoo Baritone showed a series of social media images and their possible out-of-frame realistic clutter:

screen-shot-2016-10-31-at-18-53-16 screen-shot-2016-10-31-at-18-53-28It reminds me also of this photo from the New York Fashion Week which has been circulating around the internet for a while. Fashion also requires good framing!8672498938_680fe8ea4d_b

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2000+ Years of a Georgian Room

Looking at the frame as a threshold and surface, I took a photo of a standard Georgian room and created it in 3d and in paper. The real, the virtual and the physical are then used to compress time and space into a fixed frame. Past, present and future come together into this frame which determines what gets recorded and influences our understanding of the space.

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The Facts

Fact 1: Scale cannot be perceived beyond a certain size

Fact 2: Space could always be reprogrammed

Fact 3: Blowup creates ambiguity

Fact 4: Photographs can distort reality

Fact 5: The writer elicits significance from things that need to be seen, while the architect does so from those already seen

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The Frame and The Room

Looking at the notion of the single image, I tried to test the compression of space and time into a fixed frame. I’m looking at how could the image show a 360 view without creating a distortion. This could perhaps be the achieved through selective deletion or subtraction from the image, as opposed to superimposition/density/distortion.

What is the capacity of the image? How could it represent time? how could the image show traces of previous versions? do we need to ‘adjust the canvas size’? do we need to ‘crop’?

The b&w vs. colour in the video is inspired by Memento, where b&w represents another timeline, which then blurs with the ‘actual’ timeline and alters it.

The following two images and gif show an impossible space in which the four faces of a box are laid out in a perspective view, leaving the box open from one side.

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Human History Compressed + Neil Patrick Harris

Hello! Here are small clay models by Peter Fischli and David Weiss, who recreate moments from popular culture, as well as moments of groundbreaking inventions. They also have GREAT titles. The photos are from a cool retrospective they had at the Guggenheim last year.

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