Today has been a day of doodling and setting up a storyboard for my moving picture/chameleon/inseptioneque video. So far the storyboard consists of 4 deep 2d plates (which will hopefully be done out of paper and be used in the actual video). I was contemplating whether to go with a square format, but thinking to stick to portrait which is true to the original Peak drawing.
The story takes you from the interior of a gallery where Zaha’s work is being exhibited into the actual Peak day drawing from two different views, back into the gallery and into the floor of the gallery which turns into the view of HK from the peak. The more precise step-by-step camera movement and set description is in the little subtitles in the image.
If anyone has suggestions to a more trippy Peak experience or on how the story is told please comment.
Thinking: Zaha’s Hong Kong
Questioning: Zaha’s ego
Reading: Infrastructure as Architecture. Designing Composite Networks, Katrina Stoll & Scott Lloyd. Field Conditions, Stan Alan
Quoting: “way of working at the large scale that escapes suspect notions of master planning and the heroic ego of the individual architect”. Stan Alan
Wondering: Can field facilitate the object
Hoping: To represent and extract the field of Hong Kong
Conclusion: Need more brainstorming. Help?
Where does the stage begin and end?
This version of the flat-stage shows Xia (who played Yamasaki) helping me carry parts of the stage back to the studio after the re-con jury. It was the same evning that Zaha Hadid was giving her lecture.
Physically the limits of the stage are questioned as the drawing overlaps the defined plinth/stage-size.
The collage is another backstage view, this time exploring the deconstruction of the stage. In a sense, backstage is “reality”, and the stage-set a kind of facade that manipulates reality. The audience sit in their seats with controlled views of this imagined reality that for a period of time becomes more “real” than the physical theatre. Once the performance ends actors and audience assume their original identity, and the stage-set is deconstructed into physical pieces that feed back into reality. “Backstage” is huge – it is everything that is real and contributing to make something unreal – its physical limits are becoming impossible to define!
– I hope this makes some kind of sense!