"A film is never really good unless the camera is an eye in the head of a poet."

Memory in Time and Space

In Architecture, Film, Project Work, The Art of Film on February 7, 2011 at 6:33 pm

PROJECT PROPOSAL (Client Brief):

“My objective is to crate a space in which the spectator will instantly feel as if he was intruding on someone’s memories. It’s the kind of thing that u can watch ten times over and get new meaning each time.”


“Technically photography is a medium of memory, from the moment it’s taken via processing to the final photograph.  It always shows something which was present but is now in the past.  It captures for the observer, among other things, fleeting eventful experiences in the form of a reproduction on a two dimensional surface.  The observer remains outside the scene and as such can only revive it through his imagination .  Vice versa, since becoming mobile and liberating themselves from being hung on walls as illustrations and prints, images have become a possibility of observing something distanced in space and time, of being, of travelling somewhere else, without moving from where one is.” (Florian Rötzer)

MY  DESIGN ROLE – SET DESIGNER

In this project I will be undertaking the role of a set designer.  Scenographer’s part is not only an artistic or an architectural but most of all his work is based on symbolism.  A chair in a private kitchen and the one used in a film is entirely different.  In a domestic environment it has a practical use, in a cinema it becomes a symbolical object that communicates emotions and conveys ideas to the audience.

A scenographer develops the appearance of a stage design, a TV or movie set, a gaming environment, a trade fair exhibition design or a museum experience exhibition design. The term originated in theater. A scenographer works together with the theater director to make the message come through in the best way they think possible, the director having the leading role and responsibility particularly for dramatic aspects – such as casting, acting, and direction – and the scenographer primarily responsible for the visual aspects or “look” of the production – which often includes scenery or sets, lighting, and costumes, and may include projections or other aspects. (http://en.wikipedia.org/wiki/Scenographer)

SET DESIGN – IT’S CONTENTS AND MEANING:

  1. CARROUSEL IMAGE PROJECTING DEVICE (think Carrousel Slide Projector, each horse back to play the position of a silngle image and the viewpoint of the person’s memory)
  2. 3D SOUTH BANK UNRENDERED MODEL (Vector Work) ARCHITECTURAL SPACE
  3. IMAGES from the Festival of Britain 1951 Documentary Film (Black and White) MEMORY FROM THE PAST

Evolution from personal memory to digital memory in an architectural space.

The carousel, as a metaphor, has several universal connotations generally dealing with the idealized innocence of youth and a carefree nature.  As a ride that revolves, its circular path can also signify of the wheel of life and fortune. Combining these views of the carousels symbolism: innocence, lost, the constancy of life, and destiny, are an allusion to the individual, and society at large, dignified in time at the end of this century and the beginning of the new millennium.

In this way I interpret these two images to be related: The carousel depicts the “conscious” world image of life’s path and the photographic images from the Festival of Britain depicts the “unconscious” divine equivalent, a delightful memory of the grand festival.

This is also an example of the search for the unification of the world of fantasy (as in a dream or a world of the cinema) and its nestling space (the architectural environment of the dreams setting).

The images of South Bank used in the set are reproduced from their original form, treated as flat, two-dimensional photographs to retain its role as a symbol. Placed over the carousel – the horse figures, colorless and transparent in itself; take on the colors of the images from the past. The carousel becomes a stage for the show, the grand events of the exhibition. The interplay of the “real” and “imagined” blur and shift. Perspective space is implied yet mystified with uncertainty.

Through the presence of carousel I want to explore the relationship between the human mind and the memory of a past event, image process and the technological development shown in the presence of architectural buildings.  The set illustrates the projection of an image and importance of film responds to human’s memory in an architectural environment.

I also like the analogy of carousel to image projection – its presence is almost as if it was a real carousel slide projector, a device projecting still images in its immediate space.  It moves and continues in motion, but the journey of a carousel is an illusion, just as the illusion of a moving image in our minds (visual fantasy).

The photographic images of Festival of Britain – symbolize the Memory. The 3d model of the Festival Buildings and the Carousel (crated and rendered in Vector Works CAD Program) symbolize the architectural environment of the dream.  I used the model in a very technical and unrefined look (almost like taken from the architect’s desk) intentionally underline the relationship between the two worlds.

Modeling  of the Carrousel in Vector Works

Rendering of the Model

Adjusting of the Images in Photoshop


3d CAD Model of the Festival of Britain 1951

 




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