Author Archives: Sebastian Tiew

Additional Scene WIP

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The Cut (Revised Script)

Project Title: The Cut

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V3 Final Jury

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Notes on Jury:

I have spent the last few days gathering some thoughts about the jury.

The conversation following my presentation revolved around a variety of things that i have been very helpful in helping me define what the commentary and argument of my project is.

I don’t necessarily believe that the project’s argument is about the virtual or the real. I feel the way i have been presenting R2 has been quite problematic. I have very much only described it as an escape or a place that we can depart from everyday life. I am more interested in the ways in which these realities influence one another through our inhabitation and consumption of these interiors.

At the moment, the camera simply moves in and out of the spaces, not really showing anything more but the fact that we enter and exit the screen. I think this is a perfect opportunity for me to explore the relationship between entering and exiting. To be more specific, i would like to see how elements of these virtual worlds start to exit the screen and enter the realities of Dan’s world – What is shown on the screen should translate into the room and its environment somehow. This will be begin to activate the spaces and allow for something more dynamic that what is currently happening

I will amend my script and what i say to be more specific to these outcomes which will inevitably allow for a more subtle reading of my project that it is not about this or that but the single condition that i am arguing for, where in which the rooms extends and becomes completely unbound.

The escapist culture of gaming that is evident in my video is not necessarily a new phenomenon either and i have been very much aware of this. Dan to me has always been the context for the whole project –  a framework that sets up the whole project as we move in and out of both realities.

Finally, i want to put more emphasis in my introduction on another example. Earlier this year i was speaking about a some players on Counter Strike and their ability to find the perfect slippages within the maps on the game. They become these almost unstoppable and invincible players on the map.

I am very much interested in this notion of spatial memory within the format of these games. Its almost like growing up in a neighborhood, eventually you’ll know the ins and outs, completely familiarized with it and its backstreets.

I feel this will help add another layer to the project.

Here are the videos presented for the Final Jury.

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Updated Drawing and New Spaces

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Just reworking a palace enfilade condition. in the process of filling the rooms up…

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Additional Drawings + Conclusion

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Im going to tone down the colours on this one more because i dont particularly like how it turned out.. the concept however, is there and i would like to print this drawing out for the presentation to emphasise on the condition of Dan’s world. I think there isn’t enough variety yet.. but im confident it’ll take shape as i work more on it.

These are drawings and moments i would like to add into my white book. I feel it’ll give the project an added architectural aspect, emphasising on the way in which we live inside today.

Manolis and I came to the conlusion that the major question that i am asking is “what does being inside mean today?”

I think it really sums up the project quite nicely and i am finding a way to tie it into my conclusion.

(Conclusion)

Dan will always live in room.

But through this, he can escape if only for a few moments into a world where he is no longer contained.

As Dan’s life carries on his world, he will always have the ability to find refuge in a world he has so carefully selected and customised.

Here, our rooms and its walls no longer contain us from one another. In fact, these virtual worlds have become extensions to our rooms as we journey in and out of them.

Here, you will find yourself in a world built for you and you only, catered for your very needs in every possible way.

This is what the interior is today.

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My Avatar

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The last few days have been interesting. Here is a summary of how this has been done.

First I started by scanning myself in with a Kinect sensor. With this, i was able to morph my profile with a stock head i found similar to mine.

I then rigged the face according to the blendshapes used in the motion capture software.

Then I started painting the textures of the skin – blemishes, tone, eyebrows etc..

My avatar was then rendered and combined with the recorded sound.

The introduction of my presentation will be presented through my avatar.

Here is a video of the motion capture in action! The text still needs refinement but i think im getting close to making this just right.

 

 

 

 

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Dan’s World V2

 

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New Scenes WIP

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i’m in the process of finishing this transition so unfortunately no video just yet but the aim is transition out into the space of my screen in R0.

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Reviving our great experience in Huacachina with this oasis.

Untitled2_(6)1_1Ok – back to work now

 

 

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Dan and His Neighbours

One problem i came to realise recently is the fact that Dan’s World, his room and his neighbours lack one fundamental element – people.

I’ve spent the last few days creating and adding these figures to the rooms within my film, where they are programmed to perform a few tasks as the camera pans through the 5 rooms.

All are equipped with a VR headset, they are immersed in the worlds we will enter through the screen.

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Dan’s City

11 copyI’m in the process of updating the city that Dan lives in. A generic and highly densed landscape of compartmentalised apartments. In the foreground, rapid construction is taking place, building more apartments in this new residential area. In the background, finished towers are being prepared for their first inhabitants to arrive.

I’ve added this into the context the apartment creating a much more focal point out of the window than what it was before. It would also be a nice contrast to what will be shown on the screens, where we’ll enter in R2.

I’ve also decided to change the time of the day from night to day. I think this could be more compelling in regard the culture  and lifestyle of Dan and his fellow neighbours.

I’m now the process of creating a narrative structure that will guide the levels of R1, R2 and possibly R3 much more effectively.

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Below is a test video i rendered quite quickly to see the new background and how it works with the rooms i am panning through.

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White Book updates / Dan’s Apartment Building

I’ve been doing some work on the white book and im in the process of producing some drawings that i have not been able to do in term 2. Here is one drawing of Dan’s apartment building. i tried to show a sense of individuality and character in each unit throughout the whole building.

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Some additional spreads:

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Moving Forward..

The last few days have been very helpful in clarifying what I want to Create, Resist and Reveal!

 

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The reality of Dan’s world is ultimately what I am arguing for, the room, the city and the screen. All these elements are starting work with each other much more efficiently in comparison to the previous videos i have worked on. The inevitability of living a standard life in standard homes amongst standard buildings in standard cities is much more evident than it ever has before. The project does not aim to solve this but to simply provide an alternative with the very elements of Dan’s standardised room.

If the 19th century enfilade provided a framework for the viewing and display of culture in the context of a museum or for the display of wealth and power in the context of the palace, what does the 21st century do?

I will begin to ask myself this question more as i feel that it would be crucial to find a good definitely of the contemporary enfilade, whether it is physical or purely digital.

Here are some thoughts regarding each aspect of the project:

Video 

The video still requires a lot of work in the coming months. I need to find a way to make these experiences much more effective than they have been. This will be tested by creating a variety of new spaces to journey through and out of. So far, i’ve spent very little time in R2 and the next step would be to create a denser and much more immersive experience of “Delta”. This will hopefully be achieved by moving around the spaces in R2 rather than the strict rule of only moving forward that i’ve applied so far. I think this will definitely make the viewer feel more trapped in this never-ending enfilade.

Narrative

So far the narrative acts like a documentary/ ad for Delta. I think the narrative can definitely expand on the condition of reclusiveness by moving beyond just the culture of gaming that i’ve focused on so far. The Hikikomori in japan are a good examples of this, where young teenagers and adults voluntarily isolate themselves in their rooms, watching movies, anime, playing games and probably never leaving the house.

The Hikikomori are always gamers, majority of them have found life in the real world to be too difficult and have simply withdrawn into their individual rooms, mulling in self pity. For many of them, the screen and the world of cyberspace have created refuge, allowing many of them to never leave the room.

hikikomori

 

The hikikomori is an interesting condition that is becoming much less of a niche today as we find many of these instances globally.

Model 

The next model i’ll be doing will be much more specific than the latest one that i produced. It was however through this model that i have learnt what would be much more effecting in the next one.

I’ve started to test how series of layers can be built up through the framework of the model. With the 45 degree mirror, the ability to manipulate and re-construct will be expanded on much more where a less rigid framework will replace the grid or matrix that i have been relying so far.

I will begin designing the model soon.

A reference i came across to think about is Liam Gillick’s piece, Hamilton.

It is a mirrored room with a screen in the middle projecting a variety of scenes for 27 minutes. One scene that caught my eye is a rendered video of a room with screen in it playing another video. Im still trying to find the video online but it doesnt seem to be around.

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White Book

Im in the process of updating the pages and spreads of the whitebook with new images of spaces from the latest video. I also aim to do a few drawings of the spaces in R1 and R2 to be added into the book.

 

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Dan’s World

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Some additional scenes on Scale and Vastness

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Update on Scenes

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Model update

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Model Updates

Carpets have now been added to the rooms and i’m awaiting a few things in the post to add in.

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The model is still in progress and i’ll be working on it more through the night. Will bring it in tomorrow to discuss.

 

 

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Model 5.0

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As you can tell, the new model is still in the process but all pieces are cut and im in the process of painting them now.

I aim to get it to function by tonight. Will update on more photos later when i get the chance.

In the meantime, I came across this interesting read about Second Life although it is a from a few years back.

http://www.alphr.com/features/354457/whatever-happened-to-second-life

Its interesting how some of these MMORPGs evolve when they become neglected and deserted by people and their avatars. The writer describes his experiences back in 2006 when the game was at its peak to be almost difficult to navigate around due to the amount of people in the game.

Today however, finding another avatar in Second Life’s world could be difficult as it begins to become “abandoned”

Things however don’t decay the way they do in real life – buildings remain shiny and new while streets are clean and “maintained”.

Anyways back to the Model. :)

 

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Revised Script

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I’ve been spending the last few days working on the script and planning ahead on building the model in the coming week. So far, I’ve managed to find a good solution to the introduction with a good balance between R1 and R2. Im still working on this but will update it once i finish it later on tonight.

This is Dan

R1

Dan’s room is a studio flat in a housing development built some years ago, in the newer part of town. He moved in just as it opened, along with 50 other neighbours. Like Dan, they were drawn by its close proximity to the servers of a nearby data facility and the freshly laid fibre optic cables in the area. The rent is high but an average internet speed of 491.78 MB/s was good enough reason to make a compromise over a bigger, cheaper place in the Old Town.

R1

As a software programmer, he works from home and receives a decent salary for the freelance work he does for tech companies all over the world. With little reason to leave his room, he orders everything from food to clothes and socialises with his friends online. For fun, he watches his large collection of movies and TV shows or plays countless hours of games, joining millions of others on open-world mass multiplayer games. “I am a gamer not because I don’t have a life but because I choose to have many” Dan states proudly on his Facebook page.

He would play countless hours of games, sometimes even late into the night, even into the morning until a new day would start again.

R2

Dan made sure that in the confines of his small studio flat, he would build the ultimate setup: a powerful gaming rig with a 12 core CPU, Dual nVidia 1080 GTX graphics card, 4 Ultrasharp 6k monitors, an Xbox console and a HTC Vive Headset with sensitive haptic gloves. With these, Dan has the ability to escape into an infinite collection of virtual worlds, landscapes and places.

R2

In this world, Dan is free. The options are simply endless where the ability to jump from world to world provides for often breath-taking and life-changing experiences to take place. Here he can be anyone and he can do anything, having everything the way he wants it to be.

R1

There, he escapes the generic buildings and spaces that been so rapidly and ruthlessly built over the last few years: “Everything looks the same. Buildings tend to repeat themselves and I’m just tired of them,” he complains.

R2

While the interiors we inhabit have evolved to separate and disconnect us from one another, the space of the game and its qualities have enabled the many like Dan to connect once more in an interior that we can inhabit and consume with endless possibilities. It is no surprise that millions of people immerse themselves here as it presents a much more desirable world than the one we currently occupy.

R1

Dan’s neighbours are similar to him, they are amongst the many who spend their lives in this reclusive manner, compartmentalised into a series of generic rooms in cities all over the world. Like Dan, many have found themselves spending much more time inside while being completely isolated from one another.

Like Dan, many have found themselves immersed in the world of Delta, a vast and infinite world unlike any other, different from ours yet strangely familiar. Here fantasies become reality and anything is simply possible.

R2

As a growing network of worlds and rooms, Delta is always changing and reconfiguring itself, allowing for a new experience to take place each time. Composed of vast structure of interiors, Delta’s world is the result of an infinite amount of possibilities.

R1

In the real world, life has become much less accessible – walls and doors line where can go and where can’t go, leaving many with little choice but to live and use their designated rooms and spaces. For the many that have found themselves here…

to be continued.

 

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Progress

 

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I’ve finally managed to control the speed of the footage attached to the screens with the media wall test video. Now, the transition from the room into the screen is much smoother.

I will now continue to work on this technique with a series of rooms that i will pan through bouncing in and out from one reality to the other.

So far, I’ve been modelling this new framework of rooms. I’ve attached a screenshot below to show how we transition from one room to the other. at the moment its a chunk of cables seperating Dan’s Room from his neighbour. Following this, server rooms and services can be emphasises much more?

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Following this, i’ve been re-writing the script, allowing for more of a relationship with Reality 1 and Reality 2, allowing for me to constantly jump in and out through the screens within these apartments.

Finally, i’ve been thinking about the model and unfortunately could not get any slots today to cut some pieces. I have attached some drawings of the model though. To quickly explain, the model now works on 4 sides allowing for views to be composed out of more rooms and directions. I’ve made three main zones that i aim to fill up with trees, sand and perhaps even a city. The middle is somewhat of an atrium and will be filled with neon lights that will illuminate the model through-out. This obviously still needs quite a lot of work but i think its good for now as a structure.

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Wormhole

I’ve been working towards a few scenes from my storyboard.

Here’s a preview of a new room that will be shown in the trailer.


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I’ve played with speed mainly with the video below. As the camera flies through the spaces, the different lights on the columns begin to blur into somewhat of a tunnel or worm hall. I would definitely like to explore this technique further with more space.

This will be added into a sequence of more rooms that i will work on within the next couple of days.

In regards to the script, i have been revising the flow of the text emphasising further on the two separate realities of Dan’s Room and Delta. The aim is to find a way to constantly jump in and out of the virtual into the real..

I’m currently in the process of designing my model and will hopefully have some drawings of it by tomorrow.

 

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Storyboard Scenes

I’ve developing the script of the trailer over the last few days through additional scenes that i’ve added into the storyboard.

For Act 1: Vastness (Horizon)

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Plate 1 : Act 1

(Camera flying through vast  landscapes)

Like Dan, many have turned to Delta, a vast and infinite world unlike any other, different from ours yet strangely familiar. Here, fantasies become reality, cities are built within a matter seconds and anything is simply possible.

Act 2: Linearity

Act 3: Variability

3Plate 2: Act 2 and 3

(Growing City)

As a growing metropolis of rooms and worlds, delta is always changing and reconfiguring itself, allowing for a new experience to take place each time.

(Camera flies into busy city) (Lights)

Buildings compose a network of interiors as we travel into the street and journey into Delta’s enfilade of worlds.

Act 4: Options, Choice, Control and Rules

2Plate 3: Act 4

(camera turns towards door openings and reveals the worlds) (showing forest, grand palace, domestic interior, office space, warehouse, church etc)

Whether it is familiar of completely other, delta offers a world where we have the ability to choose and compose experiences and worlds that are down to us and our individual desires.

(Reshuffling Enfilade) (Changing Rooms)

In Delta, you are in control with the ability to change and modify these worlds allowing for an endless combination of possibilities. Be careful though, you might get lost.

(Moving through Enfilade) (composed of Abandoned Shopping Centre, Water Around Mountains, into Galaxy Room, with repeating a re-coccuring rooms in the end)

The physics of Delta vary but the only rule is that you can only move forward and not backward. This is because the world refreshes into another configuration the moment you pass through them. However, you might be lucky enough to see them more than once.

(Zoom out to Dan’s Room from screen, open door now appears) (Delta city in Sunset Framed)

For many like Dan, Delta has allowed for an interior much greater than we could have possibly imagined.

Delta is a place unlike any other.

It is based on you and what you want to do with it, giving you absolute freedom to explore a world where perhaps, memories will be created and dreams will become reality.

(White Screen)

I will now materialise some of these scenes to see how they fit. I’ve also begun to think about the physical model im making in much more detail. Will update if i get anywhere.

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Delta Narrative

I’ve begun to rework the narrative and storyboard according to a presentation format. I’ve structured it around a single room. As an example for now, I’m bringing up this image i made earlier this term again.

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I want to rework this room more and contextualise the trailer for Delta around it.

For my introduction, i’ve decided to use a character that i’ve named Dan for now. He will set up the context for my project and will perhaps allow for me to elaborate the background for delta a little bit more.

In terms of containment, i feel the room offers a certain paradox towards the proposition of the project as being vast and infinite. I think it would be interesting to always mediate between this and the world of delta (even though they’re both virtual)

For the trailer, I’ve structured it into a 6 separate scenes, in which i will narrate over.

The scenes are as follows:

Vast and Infinite (Horizon)

Growing and Changing

Networks

Options

Choice

Control

Rules

Here’s what i’ve got so far. Storyboard drawings will be added later but i’ve written down descriptive notes for each of them.

Introduction

This is Dan (Video of Door in Corridor)

He lives in generic studio flat in a housing estate in the poorer end of town. They were built quickly in order to tackle the housing crisis that has displaced many within the last decade. The rent is high but reasonable and the location is good.

(Video of Street)

On his street is a supermarket where he purchases his groceries, a café where he gets his coffee, his bank just around the corner and a small art gallery that he visits from time to time.

(Video of Room)

Dan mainly works from home, he is a software programmer and receives a decent salary for the freelance work he does for tech companies all over the world. In his free time, he plays games and watches his large collection of movies and television shows that he’s obsessively archived over the years.

“I am a gamer not because I don’t have a life but because I choose to have many,” he states proudly on his Facebook page.

(Zooms onto Desk)

From the confines of his home, he orders food, shops online, browses the web, speaks to his friends and joins the billions of active users on the multiplayer game platform, Steam.

(Desk with iphone, vr headset, computer, game console etc)

With a powerful computer, VR headset, and sensitive haptic gloves, Dan has the ability to visit and inhabit a collection of virtual worlds, vast and infinite all within the confines of his room.

(Video floating through “avatar land” on appears on screen) (camera moves forward)

“The ability to jump from world to world is completely breathtaking” Dan scream excitedly.

(Zoom out to scenes of office space, apartment, view of city)

He prefers it to the generic buildings and spaces that have been rapidly built within the last few years. “Everything looks the same! Buildings tend to repeat themselves and I’m just tired of them,” he complains

(Back to Room) (Facing Television)

Dan is the common denominator and the manifestation of the average individual today. He is amongst the many who spend their lives in this reclusive manner, compartmentalized into a variety of generic rooms in the city.

As many live their lives isolated from one another and contained in the interiors we inhabit, a new interior however has provided a chance for us to connect once more, forming the possibility of an interior that we can create, inhabit and consume.

“Here, everything is the way I want it to be”

(Dan is of course talking about Delta.)

(Delta trailer appears on tv screen) (camera zooms in)

(Camera flying through desolate landscape)

Like Dan, many have turned to Delta, a vast and infinite world unlike any other, different from ours yet strangely familiar. Here, fantasies become reality, cities are built within a matter seconds and anything is simply possible.

(Growing City)

As a growing metropolis of rooms and worlds, delta is always changing and reconfiguring itself, allowing for a new experience to take place each time.

(Camera flies into busy city) (Lights)

Buildings compose a network of interiors as we travel into the street and journey into Delta’s enfilade of worlds.

(fly through of “infinite” long corridor)

With so many possibilities, delta’s world and its architecture seeks an experience that has been so carefully masked and lost over time – an architecture that fascinates and draws one to another.

(camera turns towards door openings and reveals the worlds) (showing forest, grand palace, domestic interior, office space, warehouse, church etc)

Whether it is familiar of completely other, delta offers a world where we have the ability to choose and compose experiences and worlds that are down to us and our individual desires.

(Reshuffling Enfilade) (Changing Rooms)

In Delta, you are in control with the ability to change and modify these worlds allowing for an endless combination of possibilities. Be careful though, you might get lost.

(Moving through Enfilade) (composed of Abandoned Shopping Centre, Water Around Mountains, into Galaxy Room, with repeating a re-coccuring rooms in the end)

The physics of Delta vary but the only rule is that you can only move forward and not backward. This is because the world refreshes into another configuration the moment you pass through them. However, you might be lucky enough to see them more than once.

(Zoom out to Dan’s Room from screen, open door now appears) (Delta city in Sunset Framed)

For many like Dan, Delta has allowed for an interior much greater than we could have possibly imagined.

Delta is a place unlike any other.

It is based on you and what you want to do with it, giving you absolute freedom to explore a world where perhaps, memories will be created and dreams will become reality.

(Black Screen)

 

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What is Delta?

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Before i produced anymore work, i thought it would be a good idea to go through some literature. I’ve been reading a bit of Neuromancer by William Gibson, the latest WIRED “The End of the World” Issue, EDGE magazine’s “The Making Of… 50 of the best and most influential games of all time.

I’ve watched a few documentaries on the e-sports industry.

These very accurately depict the gaming industry and the amount of success its gained within the last few years.

Mainly, i’ve spent the weekend trying to finish Ready Player One by Ernest Cline and thoroughly enjoyed its high visual narrative.

It circles around a Mass multiplayer game called OASIS that it is used religiously by millions of people every day.  This all exists in a distant future, where through climate change and human consumption, the world has been transformed into a bleak and sad place. With a stagnant economy and very little opportunity for success in the real world, many have found an enjoyment and pleasure in the space of OASIS’ collection of virtual worlds. With an OASIS console, visor and haptic gloves, the user is transformed into an avatar and brought into incredibly rendered spaces, worked into every detail meticulously and convincingly. With one of the most stable economies and currencies on the planet, the game allows for activities such as shopping or studying to more fantastical quests and battles against other players. A world where the fat would become thin and the ugly would become beautiful, many have opted for their better selves in this alternative reality, all accessible from the confines of one’s room.

The story follows the death of James Halliday, the creator of OASIS and for the remainder of his wealth and inheritance to be won by the discovery of an Easter Egg.

A videogame Easter Egg is usually hidden within the games code, allowing for players to discover it through a series of clues or hints. Atari, the game developer used to remove names of individual game designers from their products, seeing it as a means to prevent competitors from identifying and luring Atari’s programmers. In the game, Adventure, the Easter Egg is located inside the black castles (on level 2), where there is an invisible 1-pixel object referred to as the Gray Dot. The player must bounce the avatar along the bottom wall and pick up the dot. Bringing this dot to the east end of the corridor below the Yellow Castle, allows for the player to pass into a room displayer the words “Created by Warren Robinett.”

The person to uncover Halliday’s Easter Egg would instantly inherit all his wealth and control the vast lands of OASIS. With an offer to good to refuse, millions of “gunters” were addictively committed to the search for the Easter Egg. With thousands of virtual worlds and planets to look through, it would take forever to search through the whole of OASIS.

The format and idea of OASIS is incredibly fascinating because it allows for a deprived generation of individuals to escape into a world so much more perfect and beautiful than the ones they already occupy. With every book, every movie, every video-game and every artwork loaded into the network’s servers, the OASIS seems like a place where everything is compiled into one place.

Drawing from this, i’ve structured some of my thoughts into what Im working on and thinking about at the moment. Context/Game/Trailer/Walkaround

Im still far from being done with what the game should be but here are some thoughts..

Context

With the pre-mature birth of consumer virtual reality in 2016, I can’t help but to speculate a world with the technology capable of creating a truly immersive experience, allowing the user to step into a world as convincing and as real as the physical spaces and environments we occupy through daily life. Millions of individuals are already devoting a large amount of time, playing and often striving to becoming the best at these games. With games like League of Legends attracting just over 100 million individual players every month, society is already embracing a world where life could perhaps be spent on the virtual world. Already, a higher education and accessibility travel is reserved to a small fraction of the world’s population and the inequality of wealth is more evident now than ever before and with the clear threat of climate change, many of the world’s landmarks are in serious danger. Through this irreparable damage and complaisance, it would be difficult to restore our world to the state it once was.

Game

In the virtual, anything is possible, cities can be built in the matter of seconds and urban planning will have never been easier. It would be a way for us to revisit our memories and curate a world that is the result of our desires. Delta is a virtual palace, formed by an infinite enfilade, with endless combinations and configurations of rooms and possibilities. The enfilade follows a different setting every time the game is re-started and begins in the first room also known as the great hall. The palace can be seen as a game menu, allowing for the element of choice and decision that will allow for the progression of the game to take place. Here, the architecture is completely manipulatable and changeable allowing for individual players to curate specific experiences and tailor their environments to themselves. With vast landscapes and environments to occupy, inhabit and consume, players will find themselves building memories that are amongst the many that will be stumbled across in the space of Delta. When the enfilade resets itself, the arrangement of the rooms begins to re-arrange and re-construct itself unless the user is already tuned in.

I haven’t decided what the purpose of the game would be just yet but the initial ideas of being a virtual reality where life can continue is a fascinating idea that I would still like to pursue. The architecture for these spaces can then be considered much more.

As the user leaves the thresholds of the palace, many find themselves in vastly familiar worlds, where rooms connect to one another, constantly offering the element of choice in the process of playing the game hence leaving the fate of each gamer to be left to a few thousand options. Spaces will vary from highly realistic to sometimes, fantastical 3D renderings.

(This still needs some work)

Trailer

I’m still in the process of storyboarding and deciding what to show when I make the trailer but the idea is quite simple. I want to frame my presentation in a few parts, allowing for me to sale the game first through a series of posters and trailers that I’ve been working on. The content should definitely revolve around the ideas of re-configurability and the ability to mould and change the fate of the game. I would still want to sale Delta as being a means of escape and to create a sense of fulfilment in individuals. I need to work on these scenes more when I figure out the content.

Walkaround

Accompanying the trailer, a walkaround video showing one possibility of delta will be made. I need to decide on this sequence further but more interaction with the interiors will be required where objects change scales as they are positioned in different locations and to emphasise on the relentless endlessness of the enfilade.

Will continue thinking and writing, while storyboarding the trailer.

 

 

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Choice

Reconfiguration and manipulation has been an underlying idea within the project. For instance, the physical models i’ve made so demonstrate the ability to constantly change and re-arrange my rooms within the framework of a linear enfilade.

Within the came, the aspect of reconfiguration and choice should be emphasised further. To be able to constantly change and mould would nonetheless result in a world that can be extremely personalised and individualised.

The game provides a variety of options, paths, creating and element of choice in this vast world im creating.

Im currently working on a panning video showing a series of doors and the variety of enfilades that lie within. This is still very much in progress and im still deciding on the spaces that lie within these door openings.

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I’ve also been experimenting with the city scene showing the towers growing.

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I think the ability to change and choose how the game works is fundamental to what im trying to sell when i finish the trailer.

Im going to continue working on these now.

 

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Containing Vastness

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I’ve started to see how i can encapsulate the feeling of vastness and infinity within the construct of the room. i feel that i could definitely channel in more reflections and mirrored surfaces that can perhaps push the idea of infinity or endlessly even further.

I’ve uploaded the first test of this condition. You can see it below

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Delta Bay

Delta Bay Poster

Password: delta

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Delta Bay

I’ve started writing and thinking about a new narrative for the project to take place. I’m going to frame my argument and my project through the narrative of a game, where a virtual world has become more desirable and seductive than the real world we physically inhabit. I’ve written some background a rough summary for the place and how i think it might work.

With more than half of the world’s population on the brink of poverty, scarce resources and a lack of opportunity have led to an unexciting world, unfulfilling and vastly desolate. Shortage of land and housing have overcrowded cities with desperation. While many maintain banal and mostly repetitive jobs, high living expenses leave individuals with little resources for gratification and enjoyment. With little hope for success, many have turned to Delta Bay, a vast and infinite world, different from ours yet strangely familiar. Here, fantasies become reality and fulfilment is once again found.

As more withdraw from their daily lives, Delta Bay offers hope, allowing for dreams to be pursued and life to be lived in its best form. Here, you are your perfect self, removed from your inabilities and imperfections. You can start a career, meet people, study a subject, buy your dream home, climb the ladder or just retire and soak in our beautiful world. This is not a game, this is where you can be you and perhaps, find joy, pleasure, love and excitement once more.

In Aristotle’s Book Delta of the Metaphysics, he distinguishes three meanings of the term, or rather three shades of one meaning, but in any case, three different concepts. That is perfect:

  1. which is complete — which contains all the requisite parts;
  2. which is so good that nothing of the kind could be better;
  3. which has attained its purpose.

Delta Bay is a virtual world, offering an alternative reality to the ones that we currently occupy. With advancements in immersive gameplay technologies, its platform is powered on state of the art next-gen engines. With complete immersion, a complete separation from the real world occurs, allowing for consciousness to fully engage with this world. In Delta Bay, worlds exist upon worlds, providing for a limitless experience to take place. It however tends to mirror our existing world, forming cities out of streets, roads, buildings and often rooms. Everything is hence quite familiar allowing for a seamless transition and experience into the world.

It is however, not a game but an environment where daily life can exist and individuals can function doing daily tasks effortlessly. You start by personalising your surrogate, choosing your body form, your face, your form and your clothes. After you’ve chosen your identity, you can modify your identity by adjusting and altering aspects of your character that you would not rather have – this is alternative. Finally, you’re ready to go and join the millions of Deltanians waiting for you.

What im currently working towards is an advertisement or trailer for this place. I’ve been quite interested by the ads shown in Westworld and some game trailers. I found these to be interesting because they really do aim at selling these places as completely ideal and utopian.

Please jump two and half minutes in to see the ad.

I feel that the format of a trailer allows for some unknowns yet enough resolution for me to sell the place. I would like to imagine this as an attempt to draw visitors to this place. Therefore it’ll have to be seductive and attractive. Both of the trailers i listed above are capable of conveying these elements of desire.

I’ve been creating scenes and landscapes that i will begin to add together. Hopefully this will work nicely. Here are some stills as a preview

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Im currently in the process of doing more!

Im also configuring some of these surrogates that i will also place into some of these scenes. Im in the process of animating them and making them seem more realistic too.

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Jury Reflections

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I’ve uploaded the latest video I’ve made of the enfilade. After reflecting upon it and watching it several times.. I have noticed a lot of the points that were mentioned in the jury with the fact that some of the rooms go on for quite long, that the transitions dont seem as seamless as they should be and that the rooms seem far too generic for a clear narrative to actually be conveyed.. These are things that will obviously require much testing to come in the remainder of the year. Regardless, i am excited to have gotten to this point with the animation and would like to continue further.

Regarding the presentation, i felt that i was unclear with what i was trying to say regarding the larger idea behind the project. With still a lot of practice and footage to collect, i do think the video will begin to help the presentation more in the future. Moving on, i would like to continue looking at the notions of real and virtual spaces and have been reading a book by Elisabeth Grosz called Architecture from the Outside Essays on Virtual and Real Space.

I’ve come across some interesting points but will need to read further to understand some of the concepts more. Reflecting on the jury further, i feel like i really need to pin down an argument and start making the rooms more specific. I still need some time think about this.

In a way, the enfilade has enabled the creation of this world where rooms connect to one another allowing for this super-linear and continuous experience of multiple interiors. Until this point, i haven’t turned.. and perhaps this is a good method of seeing how these interiors can start to convey more of a message.

Ultimately, i feel that my project aims to comment on space and the interior and i feel that the animation is still the way to proceed with this project. This is because the interior is best experienced through the elements of duration, sound and movement through the medium. I will continue thinking and writing.

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Updates

Just a quick update on the Bike Path.

Ok so im slowly but steadily getting there with the film while working on some ideas for the presentation too. For now, I’ve been thinking of a few transitions from space to space and how i connect the rendered interior to the real. In this video i’ve attached below, i’ve started to replicate a place that i had initially filmed and will now find ways to splice it according to a precise sequence.

Im going to continue working on this as i still have a tonne to get done. Im optimistic though. See you tomorrow.

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The Bike Path

I’ve managed to collect more footage over the weekend. They still need to be graded and edited but I’m already beginning to start stitching these fly-through videos together. I will hopefully be able to film more in the coming week before the jury. Majority of the places i shot involved a passageway of some sort, allowing for the boundary of the path to form an interior of some sort. I started to then consider that perhaps, the selection of these spaces would come down to the criteria of being a sort of in-between space – not quite an interior or an exterior. These spaces will then be combined with more animated footage that i am yet too produce tonight and in the coming days.

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A Common Thread

Firstly, i want to show some footage of what i’ve been recording. I’ve attached the camera on my bicycle and its allowed for a much smoother tracking shot that i achieved initially.

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Here’s some footage

So I’ve written some of my thoughts about what i want the project to be and what i think it is arguing for. Obviously, this still needs quite a bit of work but i think it has allowed me evaluate what i’m trying to comment on in a larger scale. I’ve attached images and some videos for the sake of illustrating my thoughts.

I would like to consider this project as a way to understand what the interior really is and the ways in which we consume and inhabit it. For me, the enfilade proved itself to be fundamental in the process of combining a variety of spaces hence, allowing for a continuous experience take place. While I created majority of the footage with animated material, the experience of the space was evident as the camera moved through an endless suite of rooms. While I considered the palace as an interesting framework and typology to work with, the 18th century construct of the enfilade proved to be an interesting means of experiencing space. It was not until the invention of the corridor that privacy and segregation was implemented within the interiors of our daily lives both at home and in the work place, creating increased levels of threshold within buildings.

I also questioned the way architecture is produced where fragments of buildings and past references have nonetheless influenced us in the way we think and experience these places that we constantly revisit. Until very recently, space and architecture found itself physicalized only in themselves or the drawings and photography of them. With the abundance of imagery and material available today, a new form of the interior has found itself evolving fast. Computer aided design has nonetheless been crucial to the way we design for quite some time now. From creating incredible renders and fly-throughs of buildings, we have found architecture realistically and convincingly portrayed in the form of pixels. More recently, architectural representation has found itself steadily becoming more precise and complex, allowing for an enhanced experience and extremely dynamic architecture to take place.

For instance, the Barcelona Pavilion so happens to be one of the most rendered buildings, where we are able to find endless iterations of it online. On top of that, interactive walk-around games have been made specifically for the pavilion allowing for often fictitious yet seductive experiences to take place adding yet another layer to the distortion of the Barcelona Pavilion’s authenticity. One could even question the validity of the building that sits on the site now as it too is a replica of what was originally there. If you watch the video I’ve posted below, the ability to reproduce space in this way, whether it is experienced through VR or a screen, allows for spatial experience. It is already quite common for architectural offices to use virtual reality with clients, projecting projects to a level of precision capable of captivating us.

Here are a few videos that show this quality.

If we consider this further into the space of gaming, we can take examples such as Counter Strike and its immense community where hundreds of thousands of people find themselves immersed in high-resolution and detailed interiors of carefully designed maps. The best players are said to have familiarised themselves with the spaces so much that they are able to find the most strategic positions where slippages in openings allow for perfect vantage points. These maps experienced for long hours of gameplay, where each player finds him/herself navigating around spaces and interiors that are as valid as the ones we inhabit in our everyday lives. Gaming has generally become more realistic over time, often projecting tantalising fantasies and versions of our world. On the same level, movies have continued to fictionize their spaces through the use of not only sets by increased CGI. Through this act of fictionalising, we are nonetheless blurring the lines between the real and the imaginary. If we only consider the amount of time gamers spend playing, how can we not acknowledge the validity of its architecture? Where it is perhaps experienced more than the buildings around us.

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Accuracy and relevance is ultimately what I want to point out and the ability to make space in a domain that is so distant to what we have understood as architecture in its physical sense. With these examples, we can evidently find that architecture has found itself physicalized in a variety of mediums, now capable of doing much more that we could have possibly expected. Architecture has also for the first time found itself sharing a platform with Game designers through accessible game engines such as unity and unreal, where both disciplines can constantly learn from one another. As we shift in and out from the virtual to the real, the interiors we inhabit generally find themselves fragmented and compartmentalised into spaces that we use. My ambition here is to find a way to link up these real and virtual experiences into a common thread and to potentially create a model of the city that is continuous and compelling.

By working with the format and the medium of a film, I will begin to combine real footage of spaces, mainly commenting on a variety of thresholds, where I will be able to utilise them as spaces in my enfilade. While doing this, I will continue to enhance the animated and virtual spaces even further, getting to a level of precision and resolution that is convincing to the eye. By splicing these together, two completely different interiors from separate formats will exist in a common plane. With careful transitions and the utilisation of openings, spaces will connect through multiple dimensions and exist in a common line of a moving camera, steadily tracking into this endless journey. By finding a common medium of the moving image, the continuous effect of the enfilade will be created by a precise understanding of movement, time and duration. These are the key elements that will bind all these different spaces together, real or fictional. What I am trying to argue for here is to consider the validity of a new interior, one that finds itself bouncing back and forth seamlessly from the virtual and the real. Moving through the framework of the enfilade, a super-linear, continuous and never ending sequence of interiors will inevitably disorientate us and our distinction of real footage and animated footage. As a way for these two very different and distinct spaces to place, the film will combine a variety of experiences while cataloguing and acknowledging and perhaps through this, a new interior will be defined.

This will form a relationship between these two forms of architecture as we travel from space to space.

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First Attempt at combining Footage

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Some new tests

I’ve been going around, filming fly-through videos of interior spaces. I’ve managed to collect some decent material for now and will be manipulating them further. For now, i would like to see how i can start joining this material with some of my animated spaces that i am yet to enhance.

Here are a few stills.

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Term 2 – Holiday Updates

The cumulative effect of architecture during the last two centuries has been like that of a general lobotomy performed on society at large, obliterating vast areas of social experience. It is employed more and more as a preventive measure; an agency for peace, security and segregation which, by its very nature, limits the horizon of experience – reducing noise-transmissions, differentiating movement patterns, suppressing smells, stemming vandalism, cutting down the accumulation of dirt, impeding the spread of disease, veiling embarrassment, closeting indecency and abolishing the unnecessary; incidentally reducing daily life to a private shadow-play. But on the other side of this definition, there is surely another kind of architecture that would seek full play to the things that have been so carefully masked by its anti-type; an architecture arising out of deep fascination that draws people towards others; an architecture that recognises passion, carnality and sociality. The matrix of connected rooms might well be an integral feature of such buildings.

Robin Evans, Figures, Doors and Passages

After re-reading this essay over the the break, i started to consider a series of much more interesting conditions that could start to emerge in my project. Firstly, the idea of how an architecture that would break the boundaries of segregation or privacy and provide a new framework where perhaps, a series of more interesting spatial conditions and experiences may exist.

In my most recent animation, I attempted at doing this by exploring the continuity of a sequence of spaces placed one next to each other. This emerged as an interesting model that could portray the way we experience the city and its interiors through a very continuous model. I am now finding ways of exaggerating and emphasising some of these conditions even more by understanding the effects of how one space might influence the other. Through these findings, i believe that a clearer narrative for the film will emerge as i am already beginning to answer the question of “What is the Interior?”

Following the explorations of working with a film and animation, I also started to consider more mediums of how the enfilade could potentially be experienced. During the break, I started experimenting with virtual reality through my Oculus Rift DK2. This allowed me to immerse myself into the enfilade where i was able to walk around the sequence of spaces with an x-box controller. This ability to interact with the space is incredibly fascinating.

I don’t know where this might emerge at this point but its an interesting change to start seeing these spaces in VR.

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Moving back a little to the model,  I would definitely look into ways to explore the views im creating much more and how they relate back to narrative of the project and the mechanics of the film i am making.

I have also started laying out the white book more, with my research and work laid out in spreads. Im in the midst of finding a language for the book that will be effective and clear as to what i am currently doing. The main challenge here is how i start represent the film i made in the format of a book.Screen Shot 2017-01-12 at 17.33.05

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Im going to work on this more for now.

Overall, I am looking forward to how everything will emerge this term.

 

 

 

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Term 1 Jury

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Overgrown Hall Test

Have just gone through a few attempts at making an overgrown interior space. Preparing the rest of the spaces according to a sequence. I’ve started to consider much more, the aspect of sound in the video and its spillages from one space to the other. This also will involve conditions emphasising the relationship between these spaces when put together as well.

Anyways, here’s a snippet.

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Getting there

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USB ports are all fixed!

Im just in the process of putting the animation together for tomorrow. What i managed to do so far is a test video of the first 5 rooms that describe the conditions of the 19th century enfilade. At the end, I’ve shown the shift from these rooms to a corridor, where the notion of privacy is completely changed.

The aim is to be able to render all of the additonal spaces within the night.

Here is a glimpse of how its looking so far.

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Sequence

I’ve decided that the model room will be the room that the animation begins of with.

Following my attempts last week, I’ve repositioned the models in a sequence that starts to talk about the various types of sequences and interiors that buildings have.

I started looking at Soane’s model room and really enjoyed the evident hierarchy set in place with the way the models and drawings are positioned. The structure that the models sit in have different levels and allow for the very arrangement of each model to be in place.

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I started expanding this idea further with models placed all over the room, on plinths, tables and the main structure in the middle. The camera will go around the room, zooming into each model as they unveil a narrative about themselves and the interiors that exist within them.

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Following the model room, I’ve begun to sequence a series of room that start to comment on the notion of the interior more directly.

 

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Room of Models

room-with-models-copyI’ve been back working on the animation again following my tutorial regarding the Soane/Gandy discussion.

I’ve added many more instances into the drawing and im beginning to plan more camera sequences.

For now, I’ve made a test Pan of the room but will be modifying it and improving more tonight.

 

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The Host and the Client

“One doesn’t choose projects, one chooses clients”

I.M Pei

To further my exploration on the enfilade, I started unpacking one of my diamonds further – Well Coates’ Isokon building, a project developed closely with the clients, Molly and Jack Pritchard. Architecture is not possible without the client, even if the client is the architect themselves. In a way, architects are always required to adapt to the various needs of the client, to shift our approaches and talk about our work to a variety of different audiences.

We are subject to an endless variety of different personalities that differ greatly from one another. Whether it is the lover, the aristocratic patron, the industrialist, the mother or the Asian tycoon, we are expected to entertain, impress and lure these individuals to buying our ideas. The quite thus is inevitably the apparatus for a building to get built.

We inevitably design for clients and without them, architecture would be very different. We do however recognise how important they are for realising our dreams. And through that, we’ve developed a few tricks over the course of time.

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In this image, I’ve started to think of a variety of clients that have nonetheless contributed greatly to the creation of buildings – all placed within the working environment of an architect.

Peggy Guggeenheim – Art Collector

Edith Farnsworth – Doctor and Admirer

Josephine Baker – Dancer and Client of Adolf Loos’ Josephine Baker House

Juscelino Kubitschek – 21st President of Brazil (commissioned Brasilia)

Bess of Hardwick – Elizabethan Courtier

Cosimo de’Medici – Member of the Medici family

Henry Ford – Powerful Indutrialist

Lord Peter Palumbo – Aristocratic patron (no.1 Poultry)

Vanna Venturi – Mother of Robert Venturi

Stanley Ho – Asian Tycoon know for his Macau Casinos

Sir Nicholas Serota – Major Gallery (Tate Modern)

Miuccia Prada – Fashion House (Prada)

Prince George – Playboy Prince (Royal Pavilion by John Nash)

Charles and Ray Eames – Furniture designers and close friends of Eero Saarinen

Sainsbury Brothers – Supermarket Chain turned Art Collector

Damien Hirst – Artist and Gallery Owner

Kanye West – Rapper

These 17 individuals can then be reduced into a few categories of clients that differ largely from one another. From the intimacy of your mother or your lover to the professionalism required by corporations or institutions, we are expected to mould our personalities eventually concealing and revealing bits of our identity that are relevant to each individual.

Palace (Context)

I will continue to situate my project in the typology of a palace, taking the very notion that its main function is to constantly entertain and impress their guests. The same function can then be applied to the notion of the architect trying to acquire a commission from a client.

Enfilade

To continue the exploration of the enfilade and the model that constantly codes and decodes it, I would like to start manipulating the various views and arrangement of the enfilade according to each client. This then starts to act as an encryption device for how the architect presents his/her “collection” to their audience

I would like to explore how the relationship of a client to the architect can be used as a narrative to how the enfilade and the palace constantly encrypt and re-arrange itself whenever a different client comes in.

This could then start commenting on the various extents we are required to go to secure a client and their approval.

However, we don’t always accept commissions and sometimes find ourselves really rather not dealing with a certain clients. If this is case, there will be ways for the enfilade to present itself as completely undesirable.

As good as we are, we are also not perfect and of course the enfilade will make mistakes and cause slippages, sometimes showing spaces that aren’t meant to be shown.

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Vault

The concept of the vault or the end is then exemplified by this notion of privacy. The enfilade is also symbolic to intimacy and status where the first set of rooms are always the most public and the rooms towards the end, the most private.

In a way, who the architect really is can be compared to this notion of the vault, a protected and unattainable, impenetrable object.

These are a few thoughts for now.

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New Rooms

Im in the process of creating a new enfilade.

Here are a few stills of what i’ve been working on so far.

I’ve included more variety of spaces and am now in the midst of rendering all of the frames.

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Spaces of Production and Consumption

I’ve made a few decisions regarding what I should/want/aim to do for the next couple of weeks. Firstly, I wanted to reconsider whether the movement through these spaces are always seamlessly connected as the camera progresses from space to space.

What if the experience of moving through the enfilade begins to work in fragments? These fragments of spaces can then relate much more to each move made by the model.

If the model generates a perspective that constant repeats itself, then the video should nonetheless represent itself through a similar fashion of looping. By doing this, the model becomes what codes and decodes the animation, how those spaces contradict themselves or build up into different conditions.

This then led me to the idea of how the enfilade does not necessarily need to be experienced with a single shot/linear movement from space to space. Unlike Birdman or Russian Ark, where the narrative is tied together by a single shot of a linear space, I would like to explore how the experience of the animation and its linearity can be questioned much further – whether it is through cuts or abrupt transitions.

Moving slightly further away from the palace, I started exploring different notions of the exterior – spaces of production (offices), spaces of consumption (shopping) and paces of comfort (Domesticity)

Finally, I’d like to make a point about sound. In Koyaanisqatsi, Phillip Glass’ score is very much integral to the images that are displayed. One thing i noticed after watching it again is that the music shifts, often quite dramatically or suddenly when the subject matter changes. This relates to tempo, melody, duration and so on.

I’m not particularly saying that I’d like to compose a musical score of such nature. I’d very much like work with the construct of sound and how i could manipulate it and compose it that it becomes as important as the moving image.

Through this, I feel that the idea of a journey, whether it is accurately described or fragmented can really be explored much further.

Again, what is the interior?

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Animation 01

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Some thoughts

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A journey through the Interior

What is interiority?

From the Elizabethan Courtier palaces to Modernist ideals of collective living , the Fordist production line to Jacque Tati’s visions of the office space, we find that the notions of the interior or the room can often be opposing or relatively different to each other.

We can observe that the development of the interior, from the medieval hall to the modern day open plan apartments, has moved towards the pursuit of privacy and physical comfort.

Palaces for instance were always designed to provide the ultimate sense of comfort through carefully arranged interiors and rooms of decadence and wealth.

The Georgian terrace house, despite being bland and homogenous on the exterior was decorated individually with much personal taste. The interior in a sense has always been our context as individuals – how we live in them, how we work in them and generally, how that all comes together to function as an interior.

In 1919, the German architecture critic Adolf Behne described comfort and opulence as degenerate because of its associations with the nineteenth century bourgeoisie.

Austerity as an idea came to represent a sharpening of the sense, both in a physical and ethical sense. This position inevitably dominated architectural thinking for the next 60 years.

In his essay, The Principle of Cladding Adolf Loos stated that the architect’s general task is to provide warm and livable spaces. A room must look cozy, a house comfortable to live in.

Le Corbusier’s Unite d’habitation contained 337 duplex apartment modules to house a total of 1600 individuals. They were fitted together like pieces of a Chinese puzzle, with a corridor slotted through the space between the two apartments in each module. Within this modular framework of spaces, each unit was to be individualized with colours and a range of furniture.

Every third floor, there was a wide corridor, like an interior street, which ran the length of the building from one end to the other. It housed restaurants, shops and other forms of entertainment to be enjoyed collectively.

In a way, the invention of the corridor created much more privacy within rooms, often ever only used by their occupants or their invited guests. Like Unite d’habitation, the life exists within the realms of the private and the collective shared facilities available.

The enfilade for instance does not have that notion of separation. Rooms are connected to one another, forming suites that navigate its users through the building. The notion of privacy is then expressed through the intimacy of the visitor to the host, and their progression from the most public rooms to the most private.

To expand on this notion of privacy to the office space, Jacque Tati’s visions in Playtime show individual cubicles that exemplify ideas of privacy and solitude that is not far off from the modernist office spaces of the corporate world. In contrast, we have developed more contemporary notions of the office space to the more open place, collective work environments such as Google or Facebook’s offices that promote individual workflow and freedom.

This brings me to the question.

How different is the 18th century construct of the interior to the contemporary conditions we face today?

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Animation coming together

Just finishing up the animation.

Here are some stills from it

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Enfilade Machine

Im currently in the process of building the next model that begins to start framing rooms at the end of the enfilade.

I just need a few more hours to finish the whole thing off.

In the meantime, here’s a photograph through one enfilade.

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Conditions

I’ve started to introduce conditions into the animation. With each room having more specificity, they could perhaps become more recognisable as well.

Here are a few renders from what i’ve been doing so far.

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The Russian Ark

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I just wanted to share the final scene in The Russian Ark.

The movie is entirely shot in a single take, involving over 2000 actors. It uses the Fourth device very effectively, as the viewer is taken on this surreal journey throughout the film.

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Progress..

I’ve been evolving the model over the last few days and its coming together. I still need to assemble everything but here’s a teaser photo of one possible enfilade out of the many that can be created..

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In the mean time, here are a few screenshots of what I’ve been working on for the animation.

After the last tutorial, I started thinking more about the individual spaces and the effect of moving from one to the other, whether its what we would expect or something completely bizarre and extraordinary. Its not necessarily just constant juxtapositions, but almost this seamless yet dynamic transition from space to space.

After writing this post, I’m going to continue working on how to emphasise these conditions even more and perhaps start to introduce elements like sound and lighting.

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Infinity?

Excuse the bright colours, i needed something prominent to keep track of the rooms.

Following my explorations regarding the enfilade, I was curious to find the limit of infinity (visually) when applied to the physical perspective of the enfilade.

When the vanishing point simply disappears.

How many suites of rooms are actually required to make it seem endless? What are my constraints?

With a standard room of 5m x 10 m, how many rooms do i need to create this image of being endless?

With a 24mm lens, roughly position in the centre of each room, it would seem that 120 rooms are required to create this effect.

I can image these 120 rooms to be the framework in that the enfilade ties together.

I’ve also made an assumption through this image that only the first 12 rooms are required to be completely legible. The rest that follow after is simply the extension of the enfilade

The next step is to determine how to reconfigure and arrange these rooms so the “maze” is being constantly reconstructed to form a single view that is never really quite the reliable anchor it should be..

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False Perspective

I’m currently working on a quick animation showing a continuous enfilade that leads to a false perspective.

The purpose of this is to utilise the effect of this in relation to movement and the perspective in the enfilade.

The effect of this creates the image of singularity and continuity and to create a buffer between real and fictional.

Where the actual and fake collide.

I want to pursue the idea of this further by finding ways to manipulate the physicality of the enfilade with further techniques and explorations.

perspective-fake

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Enfilades

I’ve been looking at how enfilades are generally used in architecture. An example of this is the Palace of Westminster, more commonly known as the Houses of Parliament, has an enfilade of three Royal apartments that continues through the two legislative Chambers of the Lords and Commons. The enfilade of State Rooms presents a view from the Robing Room and Royal Gallery – B and C on the plan at right – through to the Prince’s Chamber. From the throne in the adjacent Lords’ Chamber (D) there is an uninterrupted view through three lobbies – Lords’, Central, and Members’ Lobby – to the Speaker’s Chair in the Commons Chamber at the other end of the Palace. (Lords’ Lobby and Members’ Lobby are the round and square spaces to the left and right of E on the Plan)

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I’ve been working on more instances in which the palace can be represented. For instance, the constant repetition of spaces and the illusive affect that might create.

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Or how the enfilade could potentially conceal through slight shifts in the doors alignment to each other.

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Exaggerated Corridors

I’ve been working with the framework of the Palace given that i’ve been interested in the various levels of threshold evident in the typology.

I’m currently trying to understand how that works spatially and how i can manipulate the conditions even more. More to come tomorrow!

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Mon Oncle House

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Scene from Jaques Tati’s Mon Oncle

Interested in the relationship of exterior and interior through the openings of the window frames

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More of The Royal Pavilion by John Nash

Royal Pavilion by John Nash 1823

The Royal Pavilion, is a former royal residence located in Brighton, England.

Beginning in 1787, it was built in three stages as a seaside retreat for George, Prince of Wales, who became the Prince Regent in 1811.

It is built in the Indo-Saracenic style prevalent in India for most of the 19th century. The current appearance of the Pavilion, with its domes and minarets, is the work of architect John Nash, who extended the building starting in 1815.

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