STUDIO 35 mm; #Cinematic Re-design
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ARCHI-GAG Studio Leader: Hamid Khalili 2
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Digest
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Crush
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Capture
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Journal Rui Ma 813232 Studio D 2020 Semester 1
Sca
Content Cinematic Research
P. 2 - 75
Visual Gag Reseach
P. 76 - 106
Original Film Analysis
P. 107 - 127
Mid Term Panels
P. 128 - 179
Archi-gag Design Sketch
P. 180 - 255
Design Sketch
P. 256 - 269
Final Project
P. 270 - 290
gerating
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Film Art: An Introduction, 8e David Bordwell #Reflection Chapter 2 - The Significants of Film Form The discussion on film form encourages me to think that the interpretation of an architectural form can be similar to a film form. Form as a system - inspires me to think about what elements should I use to elaborate on my design? How people would understand the space? (Movement, lighting, structure material, etc.) Therefore, architecture like films, people would understand my design as a system of different elements and the way of how they are put up together. (The form of architecture is more than the geometry of the appearance.) Formal Expectations - encourages to me think what are the experiences of visiting a museum? a square? a pub? What people are expecting to see or to experience? How can I repeat experience from a space or create a new type of experience of a space? Furthermore, what’s the story that I want to tell through my architecture? The principles of film form - provides the methods for us to analyze the form of a film with the knowledge of “Function”, “Similarity and Repetition“, “Difference and Variation”, “Development” and “Unity/ Disunity”. However, I believe the principle can also be applied to architectural design in terms of the volume, the lights, the structure, the color, the emotion. Therefore, design can be understood as the playing and assembling of different architectural elements.
The crystal palace was an unexpected and totally new experience to the people at the time, the unexpected experience was achieved with the novel structure and the new materials.
(https://www.britannica.com/topic/Crystal-Palace-building-London)
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#Reflection Chapter 3 - Narrative as a Formal System Here I want to emphasize the difference and similarity between film and architecture. I do not think the narrative structure of film can be successfully applied to all different types of architecture and I believe its most suitable for very limited and specific architectural types such as museums and art galleries or memories where mostly likely have preexisting stories to tell. For example, a museum usually tells a story about the dinosaurs, how they became the conqueror of the planet and how did they die out. Also, an art gallery can tell the story of an artist’s life experience. However, this encourages me to think about how can we create different stories from the existing ones? How could we enhance or change how people interact with space? Nowadays, interactive design becomes very popular in the design of such public architecture or installation arts. Can we push such design ideas to a new horizon with the knowledge from the film? And, another question why “only film can make the new architecture intelligible?(Sigfried Giedion)” However, the narrative structure do reminds me of the museums designed by Rafael Moneo.
National Museum of Roman Art - Rafael Moneo (Photo Taken by Author)
Week 00
I think the architecture is a good example of telling the story about how we walk through a ancient roman city, the emphasis is on the scale and structure of architecture. The series of the space was clear in his design. For example, their lobby has very limited lights and relatively low ceiling height, it feels like we are forced to quickly walk through space. Then we are guided through a bright, narrow and relatively low space where we can see and expect to be in a giant hall with gigantic brick arches. I felt satisfied when I finally walked into the central hall where are fulfilled with skylight, a very tall ceiling. Most of the exhibitions happen on the sides of the cental hall where to have two stories. The original site was hidden below the central hall where very limited lights are provided.
The quality of the brick wall is enhanced by the bright lights.
The variation of heights and lights enhanced my experience in the space and it makes me remember the feelings and emotions which I had when I was there.Â
Sketches on the sequences of the space - National Museum of Roman Art
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Berlin Central Station / Hauptbahnhof Berlin gmp Architekten A tour into the daily life of the high efficient hub at Berlin Central Station.
Excercise 1: Architectural Short Films Analysis
(Scene 27 - people stands on the escalator with dramatic light reflected on the wall surface)
This scene captures my eyes with the warm atmosphere. What makes it a successful scene includes the light blurs over the concrete surface and the human shadow at the left bottom corner. Despite the excellent first impression to my eyes, I think the composition could be improved to have something to focus on or to zoom in to elaborate more on the materiality of the concrete wall.Â
Week 01
#camera approaching volumes and masses in the time lapses in the beginning of the video
Camera Position 1
Composition 1
Camera Position 2
Composition 2
Camera Position 3
Composition 3
Camera Position 4
Composition 4
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The first shot of the short film is finished within one single shot and it is a point of view shot (POV). It has the station at the center of the composition, shot from an eye-level height. It tells how we approach the station and the relationship between the station and the city. It enhances the perceptual subjectivity and the participation experience of the viewer. To empahsis on the volume and geometry of the station, the camera’s position moves horizontally towards left or right while moves forward which provides a dynamic perception of the volume. The music and the speed of the first shot set up the expectation of seeing the station as a busy and fast travelling space.
Camera Movement Path
Scene 2 to 8 - Fixed shots
The Fixed Shots make great contrast with the first dynamic shot. The contrast gives me the ‘ooh wow’ impression of the volume. It also catches my eyes with the comparison between distant shots and medium close up shots. It seems following a pattern ABABAB... However, each sector of the film focus on one single variation. It means that the first shot focuses on approaching the volume, scene 2 to 8 focuses on the volume of the station at dawn which also makes comparisons between the station at night and day time. However, the sector makes me feel that it lacks unity, but rather a few random shots which are put together. Could this caused by the angle or composition of the shots?
Week 01
# movements and interesting angles of viewing
(Scene 12 - A Shallow Focus on the Ground)
Although it’s a cliche, I think this is a good example of using the Peripheral Vision.
(Scene 23 - A “Kino - Eye’ of looking Down)
It’s interesting in using the column as a guideline to tell us about the depth of the space.
(Scene 29 - A “Kino - Eye’ of looking Foward)
By contrast with the image above, this time the handrail becomes the guide to tell us the depth of the Field.
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#people’s reactions & Interaction to/with architecture people’s reactions to the space are edited with Montage & Cross Cutting Techniques to create narratives to the film.
Woman ‘look at’ the baby
(Scene 15 - A medium close up shots focuses on the baby)
(Scene 16 - A medium close up shots focuses on the sight of a lady)
Men ‘talk about’ the elevator down below
(Scene 21 - L.S. on people’s action and sight)
(Scene 22 - A Tilt Down shot to show the depth of the space)
Week 01
(Scene 41 to 45 - A sequence of Montage which creates narratives to the film)
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(Scene 54 to 56 - Tonal Montage, edited based on the action & emotion. It creates a sub-narrative to the film)
Week 01
Bauta
Paul Tunge
The tonal of the film; The ambient sound of space;
The light; The atmosphere; The Slow Tempo;
The beauty of Coarseness; The darkness; The fog;
“Films are sculptured by time.”
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Man with a movie camera
Dziga Vertov ‘Experimental 1929 Soviet silent documentary film’
1st shot
2nd
3rd
4th
5th
10 s
2s
7s
2s
5s
6th
7th
8th
9th
10th
4s
3s
6s
2s
3s
Music Starts
1st Shot
3rd
Duration: 1 sec.
5th 7th
2nd
9th
4th
10th 6th 8th
What I have learned the most from doing these diagrams is that the relationship from shot to shot should not just be analyzed only with adjacent shots. For example, the time duration of the shots is gradually decreased/increased on every second shot from this film.
- The Study of the tempo of film over the first 4 mins
Week 02
2 s Duration
4 s Duration
50th
51st
52nd
53rd
54th
1s
1s
1s
3s
1s
55th
56th
57th
58th
59th
2s
1s
1s
1s
1s
3 s Duration
2 s Duration
Duration: 1 sec.
50th
52nd
54th
51st
56th
55th
58th
57th
59th
53rd
On the other hand, what I also learned from the editing technique of this film is that each individual shot can be broke down into smaller takes and inserted into each other to increase the tension with its tempo of the film.
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# A diagram analysis of the relationship between the tension of the music, duration of the shots, an
Sector 1
Sector 2
Tension of the Film =
Sector 3
Tension of the Music Duration of the shots
Therefore, the tension of the film is decided by two main factors the ‘tension of the music’ & the ‘duration of the shots’. Here I create an equation to indicate my understanding of the tension of the film. However, there are two more factors that have been left out of this equation. The first one is the speed of film compares to real-time speed. In the ‘man with a movie camera’, a large part of the film is displayed faster than real-time speed. Moreover, it should be considered as a positive factor to the equation, the faster it plays the tension of the film goes more intense.
Week 02
nd the tension of the film
Tension of the Music Tension of Film
Sector 4
Sector 5
Sector 6
The second one is the speed of the action itself. However, I do not think it is obvious from this film since everything has been displayed faster compare to real-time action. Thus, I am not sure how it will affect the tension of the film and I could look into it with further analysis from my journal. Throughout the first 4 minutes of the film, there are 59 shots and each of them is about 2.705s which suggests that the tension of the film is relatively high for the entire film. (The first 4 mins includes 1mins34s of introduction shots which have been deducted for the calculation)
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The sectors of the diagram above are divided by the storyline of the film: - Sector 1: The man with the movie camera went back to the cinema - Sector 2: Time passes in cinema - Sector 3: The Audiences are prepared to watch the film - Sector 4: The orchestra team is prepared to play the music - Sector 5: The man turns on the film machine - Sector 6: The orchestra team plays the music which suggests the film has began Hence, the first part of the film follows a narrative structure. For the entire movie, we understand that people are sitting in a cinema and watch the movie as one of the narratives. What’s also important from this movie is the presence of the filmmaker himself which formulates a self reflexive narrative. (Video essay, Kubrickscub)
Man with a Movie Camera (Video Essay) Kubrickscub https://www.youtube.com/watch?v=hZUyeFQIRmw
Week 02
The City, the architecture, the people, and the machines - ‘Scales’
The City
Dziga Vertov usually chooses a higher angle to film the city. As a filmmaker instead of an architect, he shows us the massiveness, the emptiness, and repetition in volume. Whenever I watch these shots, I feel like a giant who is observing the ants on the ground. People are portrayed as black dots from his camera, they move, they stand, and they are very busy. Individuality is not the concept for these shots, what we observe from here is people as a group, a society which mixes up different gender, different age groups, and different social hierarchy. I feel like he is trying to tell us: “See! These are the people, and, this is the city where people live or die, enjoy or suffer ...” (From a technique perspective, these shots can be applied as establishment shot & re-establishment shot which introduce the background of a story or the position of a main character)
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The Architecture
The angle of the camera
The volume & silhouette
The framing & volume
The angle of the camera & Volume
Two ‘dutch angles’
Week 02
What makes me interested in these shots of architecture are the framing, the angle of the shots and what he captures with his camera. The framing and the angle of the shots seem to ignore the geometrical boundaries and the volume of the architecture. For example, the volume of the architecture goes beyond the screen regardless of his physical geometry. What I feel is that these are not photogaphs but pieces of reality that are assembled in my own eyes. What he captures is also interesting to me. The doorway, the window, the elevators, the streetlamps, the shop window, etc. These elements enhance my imagination of being living in the city which was wanted by Dziga himself. The diversity, randomness, and distorted angles of the shots help to capture the tension of the film which also could be used to suggest the psychological state of the society from Dziga’s perspective. However, I believe that he wants us to experience what he sees through his design of the camera lens. Based on the video essay by ‘Kubrickscube’, Dziga introduces a new concept named the ‘Kino-eye’ which means the ‘camera eye’. I think how he portraits the architecture and the city also tries to imitate the way ‘we’ see and experience the city as he does from his own eyes. I can remember who said it that Dziga Vertov hopes we can experience and enjoy the film regardless of the time, the space or the identity of the audiences. I think he has been successful.
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People I
Week 02
People II
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Self Po
Above the camera, above the brid lay on the street ...
The way of self-reflection from the man with his camera. Week 02
ortraits
dge, above the city, on the train,
e movie shows us a dedicated
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Machines
Week 02
Thus, there are four different scales that are captured from his camera, The City - E.L.S or L.S The Architecture - L.S or M.LS The people - M.LS or C.S or E.C.S The Machine - M.L.S or C.S or E.C.S However, they do not tell a story alone by themselves. The collisions of these scales and the content of the images are the keys to the understand this film.
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The collision of images - Montage by Dziga Vertov (Reading Reflection)
“When a viewer sees these shots, his/her mind tries to reconcile these conflicts through a process of synthesis, where ‘synthesis’ is different from a simple additive process. Eisenstein calls the resulting activation of mind that the process of synthesis calls for as the process of dynamization of the viewing experience. According to him, in cinema, dynamization occurs at three levels: perceptual, emotional and intellectual levels of the viewer. Eisenstein further holds that these three basic human responses – primitive bodily responses, emotions, and thoughts - are the products of progressively higher or more intense physical stimuli acting on the body which gradually leads to qualitative changes in human response to the stimuli, from pure bodily responses to emotions to thoughts and ideas.” - Gopalan Mulik ‘Eisenstein’s Collision Montage’
Week 02
1. Hollywood Continuity Cinema → A
+
B
=
(Meaning)
C (Contnuity)
Here meaning C is equal to the sum of the meanings contained in shots A and B since mind is here simply engaged in adding up the continuities between shots A and B. 2. Soviet Linkage Montage → A
+
B
=
(Meaning)
D (Discontinuity)
Here meaning D is greater than meaning C since mind is here engaged in assimilating the discontinuities between shots A and B. 3. Eisenstein’s Collision Montage → A
x
B
=
(Meaning)
E (Collision)
Here meaning E is greater than meaning D since mind is here engaged in reconciling the contraries between shots A and B. - Gopalan Mulik ‘Eisenstein’s Collision Montage’
I direct copied the study by Sir. Gopalan Mulik because his words best explain my confusion on Montage and Continuity editing. I think what’s most important here is the three different levels of the ‘Dynamization’ which can be felt from the movie ‘man with a movie camera’. Here I understand that the juxtaposition of images does not necessarily generate a powerful meaning or slow down/speed up the tempo or rise/calm the tension of the film. From this movie, I find some of the images definitely fit into the third category where new thoughts are generated from the film.
https://www.academia.edu/31964928/Eisensteins_Collision_Montage
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This is my favorite montage scenes from the movie. The first thought I had from watching it was people who live at the bottom of society are suffering from the industrialization of the city. However, I may get the idea from the movie ‘the great gatsby’ where the concept was applied to show the different level of social hierarchy.
If the scenes above give us the answer and direction on what should we think about from the collision of those images. I think these two scenes may give us a question to ask and to think in our mind... Will this little girl ends up as the old lady in her life? How would people live their lives in society? Firstly, I thought the filmmaker was criticizing Soviet society but then he shows how people are enjoying working and how people enjoy his film in the last 1/3 of the film. Therefore, the film could just be telling a story of the daily life, an experience of the time and probably showing some kind of hope of a better tomorrow for these kids from the hard work. Anyway, the juxtaposition of these images encouraged me to think about such questions. Week 02
“The film Man with a Movie Camera represents AN EXPERIMENTATION IN THE CINEMATIC TRANSMISSION Of visual phenomena WITHOUT THE USE OF INTERTITLES (a film without intertitles) WITHOUT THE HELP OF A SCRIPT (a film without script) WITHOUT THE HELP OF A THEATRE (a film without actors, without sets, etc.) This new experimentation work by Kino-Eye is directed towards the creation of an authentically international absolute language of cinema – ABSOLUTE KINOGRAPHY – on the basis of its complete separation from the language of theatre and literature.”
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“I am an eye. A mechanical eye. I am the machine that reveals the world to you as only the machine can see it.” - Dziga Vertov (“Kino-Eye”)
Week 02
Eternity and a Day Theo Angelopoulos 1998
What firstly captures my eyes from this film is also the rhythm. From 0:27 mins to 4:31 mins, there are 18 shots which are about 1:51mins for each of them. It sets the tempo of the film which fits into the dolorous and poetic narrative of the story. It makes a great contrast to the ‘man with a movie camera’. The former focuses on using long take and camera movement to tell a short story from each take, the latter focuses on the collision of the shots that each one of shot only lasts on seconds.
(Scene at 1:45:47, where I hope this bus will keep driving forever to preserve happiness for this moment. )
However, what I really love to know about this film is how the camera movement is designed. I think it’s a perfect example of using mobile framing as a lead in the narrative of the story. My favorite part is when the camera slowly and smoothly moves backward, then it turns left or right (tracking shot + pan shot). It always makes me feel that the camera is dancing, like a Tango.
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1
2
3
4 5
(Scale: 1:50)
- The Study of mobile framing in a domestic space / Scene 3 from 00:04:55 to 00:08:48 / duration 00:03:53
Week 02
8
9
7
6
Here is a long take in the apartment building, which conducts a tracking shot on the protagonist and follows his movement. The scene opens with a scene outside a doorway to the balcony and finishes with a similar scene from a doorway to another balcony. I take an analysis of this shot because I think it best represents the idea of the long takes in this movie that each of them is a short story. In another word, it’s a ‘plan- s e quence’(French) which means a ‘sequence shot’. The scene takes a complete continuity which means it spends the same time duration on the screen as the event takes in reality. Also, door frame and window frame are used as a transition into his memory which becomes a significant architectural motif to the film.
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Optic
# Mobile Framing of Camera Position 1, 2, 3
Lens
Tele
Diaphragm
Open
In-btw
Close
Optic Depth
Flat
Normal
Deep
Focus
Fixed
Screen/Space
How Long
Perspective
Wide
Normal
Shallow
DoF
Normal
Deep
Nr of Focus Point Nr of Changes Backward Forward
Changing
VP Outside Frame VP in Frame
2VP
Zoom
1VP
VP Outside Frame VP in Frame
Distort
N 1 2 3 4 5 6
Space Layer How Long
Sub-human
Scale Composition
Human
Right Tripod-camera Movement Pan Left How Long
Architectural
Landscape
Up Clockwise Tilt Down Rotate Anti-Clockwise Diagonal
Zoom
In Out
Camera/Movement
From where to where
Hand-Held Camera Movement Pan How Long
Right Left
Up Clockwise Tilt Down Rotate Anti-Clockwise Diagonal
Zoom
In Out
From where to where
Tracking Shot (Dolly/Steadycam/Gimbal) Horizontal How Long
Tracking Shot (Hand-Held) Horizontal How Long
Crane-shot How Long
Up
Down
Drone/Heli Shot Up How Long
Right Forward Deep Left Backward
Right Forward Deep Left Backward
Diagonal
Diagonal
Diagonal
Down
North South West
East
Week 02
Notes: 1) Dissolve Editing/ Super Imposition of the Images of the Beach & Ocean / Static Shot (Zoom Out & Pulling Focus - Pan Right - Tilt Diagonal to Right Bottom - Track Backward) 2) 4 layers of Space on the two people’s conversation / Balanced Composition (Track Backward - Tilt Diagonal to Left Top) 3) 5 layers of Space/ Deep Focus on the man/ Door Frame used for Composition
Layers of Space: 1. Lady & Door Frame 2. Man & Chair 3. Window Frame & Exterior Wall 4. Baluster of the Balcony 5. The Sea
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Optic
# Mobile Framing of Camera Position 4, 5, 6
Lens
Tele
Diaphragm
Open
In-btw
Close
Optic Depth
Flat
Normal
Deep
Focus
Fixed
Screen/Space
How Long
Perspective
Wide
Normal
Shallow
DoF
Normal
Deep
Nr of Focus Point Nr of Changes Backward Forward
Changing
VP Outside Frame VP in Frame
2VP
Zoom
1VP
VP Outside Frame VP in Frame
Distort
N 1 2 3 4 5 6
Space Layer How Long
Sub-human
Scale Composition
Human
Right Tripod-camera Movement Pan Left How Long
Architectural
Landscape
Up Clockwise Tilt Down Rotate Anti-Clockwise Diagonal
Zoom
In Out
Camera/Movement
From where to where
Hand-Held Camera Movement Pan How Long
Right Left
Up Clockwise Tilt Down Rotate Anti-Clockwise Diagonal
Zoom
In Out
From where to where
Tracking Shot (Dolly/Steadycam/Gimbal) Horizontal How Long
Tracking Shot (Hand-Held) Horizontal How Long
Crane-shot How Long
Up
Down
Drone/Heli Shot Up How Long
Right Forward Deep Left Backward
Right Forward Deep Left Backward
Diagonal
Diagonal
Diagonal
Down
North South West
East
Week 02
Notes: (Track Backward - Pan Left) 4) 5 seconds static shots on the man’s monologue then use the door frame to frame our view. (Tracking Backward) 5) The man stands on the same location for 10 seconds & walk slowly to the middle of the screen (Track Backward & Pan Right) 6) We watch the man come close to the screen and walk away from the camera. Meanwhile, we hear the bark which tells us the location of the dog which is outside of the screen. (A head-on shot & a trail-on shot)
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Optic
# Mobile Framing of Camera Position 7, 8, 9
Lens
Tele
Diaphragm
Open
In-btw
Close
Optic Depth
Flat
Normal
Deep
Focus
Fixed
Screen/Space
How Long
Perspective
Wide
Normal
Shallow
DoF
Normal
Deep
Nr of Focus Point Nr of Changes Backward Forward
Changing
VP Outside Frame VP in Frame
2VP
Zoom
1VP
VP Outside Frame VP in Frame
Distort
N 1 2 3 4 5 6
Space Layer How Long
Sub-human
Scale Composition
Human
Right Tripod-camera Movement Pan Left How Long
Architectural
Landscape
Up Clockwise Tilt Down Rotate Anti-Clockwise Diagonal
Zoom
In Out
Camera/Movement
From where to where
Hand-Held Camera Movement Pan How Long
Right Left
Up Clockwise Tilt Down Rotate Anti-Clockwise Diagonal
Zoom
In Out
From where to where
Tracking Shot (Dolly/Steadycam/Gimbal) Horizontal How Long
Tracking Shot (Hand-Held) Horizontal How Long
Crane-shot How Long
Up
Down
Drone/Heli Shot Up How Long
Right Forward Deep Left Backward
Right Forward Deep Left Backward
Diagonal
Diagonal
Diagonal
Down
North South West
East
Week 02
Notes: (Track Forward) 7) We see the man is on the right side of the screen which is imbalanced. Â (Tracking Forward & Pan Right) 8) The man stands on the same location for 10 seconds & walk slowly to the middle of the screen (Track Forward & Pan Right & Racking Focus) 9) Music starts and the screen goes beyond the window frame again. It uses repetition to tell us that this sequence shot is finished.
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# Window & D as a motif of Flashback
Week 02
# A frame in the frame / Mirror
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The Man from London Bela Tarr
05:37
The first scence of the first shot of the film takes over 4 mins to prepare the audiences for the dolorous emotion and the slowness rhythm of the film.
02:47
The audiences are attracted to the images with suspensions of what could happen on the ship. The success of the shot lies in the unity of the background music, the slowness movement of the camera, the symmetric composition, hard lighting, and the bright contrast which guides our eyes to follow the camera movement on sculpturing the volume of the ship.
02:17
02:07
- A Long Take crane shot of the First scene
01:47
Week 03
The transition from scene 1 to scene 2 is done with a one long take sequence shot. What implies the transition of the scene is the shadows in from of the camera. We know that it is outside when there is nothing blocking the camera, vice versa. What’s also successful in the transition is that the important parts of the shot are always lighted up on the right half of the screen. Over the whole film, it is a great example of using contrast with lighting to guide the attention of the audience over the screen. However, I suspend that this can be a POV shot when I watch it a second time, because we know the man is a watcher of the shore who climbs up a tower.Â
Scene 2
Inside
Scene 1
Outside
- The Anatomy of First shot as a sequence shot
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Contrasting Layers # Music stops and it’s changed by environmental sound which implies something will happen from now on. # A short period of the dark screen follows an im-balanced composition of lighting from outside of a window frame also implies the beginning of a story.
# The brightness of the scene is divided into three layers. The ship stands out to our eyes as the middle/grey layer which captures our attention.
# Here the camera movement tries to balance the composition, so our attentions are drawn to the two figures on the ship.
# From the shot we understand that there are two hard lights from a distance of the two figures on both sides of the screen which help the two men to stand out from the background.
# The screen becomes imbalanced again which suggests the end of a story. # The movement of the camera suggests we are following the movement of something or someone. (A POV shot)
- The Analysis of the form of the film based on the first shot
Week 03
Scene
Timeline
Rythm
Camera Movement
Balance of Screen
05:23
05:30
05:47
05:54
05:27
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What I truly love about the film is the poetic cinematic language; Minimal & Strong & Effective; What it inspires me is the use of contrasting light as a method to draw people’s attention; Also, it inspires me to use composition as a method of storytelling for architecture design.
The point light in the middle of the screen draws our attention; The composition tells us to focus on the man in the middle; The sound of something drops into the water also enhance our attention to the man; The point lights on the left suggest that something will happen there in the next scene.
- The example of how lighting is used to draw people’s attention
Week 03
A medium close up shot which draws our attention to the facial expression of the character; The main lighting is in front of the protagonist which helps us to see his face; There could be another light from the back & above to render the silhouette of the man, so he can jump out from the background.Â
- A example of a lighting helps with the medium close up shot from the film
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# Transition from Scene A to Scene B with no eiditing
The depth of focus is shallow which helps the audience to focus on points of the screen; The change of point of focus from the back to the front (Pulling Focus) guides our attention to the man in the front of the screen; The mise-en-scene of the scene helps the design of the shot, the horizontal lines from the window’s frame enhance our feeling about the depth of the space.
Week 03
# Two person conversation scene without 180 degree rule
Daylight is the main light source
light is also from above to render the silhouette of the man’s shoulder
Camera position 2 Camera position 1 (Pan Right & Zoom out & Racking focus)
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# A example of using sound & eye contact to guide our attention
A Close up shot shows the girl looks at her right side when the man is talking; We do not know the position of her parents, but we follow the sound.
Then we see where are her parents and they are sitting in front of the dinning table. We are deeply affected by the emotion from the girl with the noise caused by the argument of her parents, it’s more effective to rise our emotion and attention than showing her parents first. Also, it creates suspeion to the audience about what’s going on. What’s interesting is that the scene starts and finishes with the C.S. of her face, a very good example of applying repetition.
Week 03
# Application of repetition in the film form
The light is disappeared from his back which could suggest that he has changed as well; We sense more of his anxiety and struggle with his fast action compare with the first time of this scene.
The life repeat, this old man seats on the same position as first time, so does the protagonist and other characters. It enhance the feeling of depression by repeating the daily life. However, it implies a change as well, a new person appears in the back and he will talk about the crime. Who are we? Could we be the person as this old man here? Someone witness and experience with such tragic all the time?
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# My favourite Scene 1 & 2
“I want to kill him!!!“, we did not hear the lady say it but we can tell how she feels from the butcher!
Week 03
When the protagonist comes to the pub the third or the fourth time. Everyone seems so happy, even the host of the hotel finds his lover. What’s so funny about the scene is that we together with the dad and daughter are watching the host flirting with the woman. Another repetition from the film, but it suggests that people are no longer constrained by morality, they are free with their desires.
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Week 03
# Reflection with the Vimeo links
Films are sculptured by time, It’s more about the perceptional experience over the narrative, Duration is the key to unit Space & Time. ...What could make people slow down in architecture? “Without light in the darkness, You cannot make movies.” -Bela Tarr What’s the point of view of ourselves about the world? The film tells more than the reality of the world, it’s more about how we experience our lives. The void... How does reality constructed in films? What goes beyond what we see from the screen? What is the implicit or symptomatic meaning of a film? A film is more than just a story or a series of information... Sensibility, dinity and respect of the human race. Feel a film, experience a film, Not just watch a film. The sound, The smell, The duration, The emotion, ... The memories of a space, What’s the enssential qualities of a place beyond the event or action of the space?
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Casa Cattaneo Alberto Momo
The film takes a documentary form. What also caught my eyes from the film is how the film director experi It’s well explained from the composition of the screen designed with the frameworks, the handles and the e
Fixed shot Slow-motion Deep (Fixed) Focus M.C.S - Door&Door Frame Ambient Sound
Fixed shot Slow-motion Shallow (Fixed) Focus C.S - Door&Door Frame Ambient Sound
Fixed shot Pulling Focus E.C.S - Staircase Handle Ambient Sound
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ience the linework & details of the architecture from his camera. edges of geometries.
The first sequence of the shots uses a door frame to design our views of what we see, also it creates a sense of suspension that rise up our curiosity. What’s most interesting to me is how the film uses focus points to play with the details of the architecture. It abstracts scenes that we do not experience them in the same way in this film from daily life. Thus, the screen becomes more filmic than reality. what units the clips together include the rhythm, the poetic composition, simplified color selection, the hue, and saturation. What’s showing from the short film includes the movement and slowness of the architecture. It has very well captured the quality of the space.
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Hands are repeated as one of the motifs to indicate human interaction with the architecture. The composition of the shots is well designed to create visual harmony.Â
- A study of the composition of the screen
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Edificio E Cristobal Palma
The film indicates a great example of using dissovle as a method of showing time pass which gives a surrealistic effect to the film. However, it only successful when film on the same location, same angle and same composition. The director well captures the activities of the students inside the school which emphasises the function of the space.
The film shows the architecture from morning to dawn, it consists of fixed shots with a specific editing technique which very well explains the time changing during the day. However, his films about architecture are stylistic of his own characters. For example, a long take static shot is squeezed into a few seconds to show the time pass. Using dissolve as a way of connecting two shots. It’s one of the ways of approaching a volume.
- A example of using dissolve to connection two shots
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Termas GeomĂŠtricas Cristobal Palma
This film also consists of fixed shots from morning to dawn. However, I do not think it has well explained the architecture or space. The shots seem being put randomly to each other which loses a sense of rhythm. I think it can be improved by changing the speed of the film or playing with the focus point. Slowness and pleasure are better to be used as concepts to capture the quality of the space. It has some good edited shots where the same composition is used as a transition point to connect the shots.
Ambient 30_60 / Yap_Constructo Cristobal Palma
This film combines fixed shots with gimble movement shots. Here I understand that we are required to learn still shots and gimble movement. However, I think the film shots jump frome one to another which means that it’s not united together. For example, I was expecting the gimble shots will be connect to another gimble shot but it fails my formal expectation and I do not understand why its connect in such way. Week 03
The Mirror Stage Cristobal Palma
Very good use of POV which really brings in the viewers into the film. Good Choice of music which combines the shots with rhythm.
Mine Pavilion Cristobal Palma
The introduction shot was not so good because I could not capture what’s the main architecture or topic for the film and it takes too much time. However, the editing well explained the activities in the pavilion and it uses montage well. First, we see what people are looking at then we become the observers. Good comparisons and contrast of composition. Good choice of the music which reminds me of the natural environment. 59
Gobierno Regional de Moquegua Cristobal Palma
Random shots but there is a good editing sequence, in medium close / out - long shot / medium close shot
Teaser: SECOND HOME Cristobal Palma
A lovely facade! The film has a narrator to explain the architecture. Short but effective.
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Casa Limache Cristobal Palma
Same location but films the architecture from morning to dawn. What’s interesting in the film are how the interior space and shadows on the facade are shown when the time pass. I guess that is the reason that he choose to film the architecture in such method.
XVIII Bienal de Arquitectura Cristobal Palma
I think it has excellent pacing or the rhythm. Shots are shot up/down (Crane Shot) and connected with up/down. It’ s wired when a down shot is connected to another down shot. Really good choice of music. The screenshot I take is what I think the most powerful scene from the film. It takes the symmetric composition of the interior space. The man’s white shirt really jumps out which guides us to experience the visiting of the space. 61
Parque Cultural de Valparaiso Cristobal Palma
The film starts with a distant shot and ends with a distant shot. Good parallel. Good editing with time-lapse and music. What I remember from the film include the scene when this boy plays with his balloons and the school kids play football on the playground. I think both of the activities have well explained the essence of the space.
Biblioteca Parque EspaĂąa Cristobal Palma
Good observation of activities and very interesting shots for context introduction from the elevator.
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Complejo Acuatico Cristobal Palma
A very interesting introduction shot. It inspires me to discover the most interesting things from the Fed. Square
Orquideorama Cristobal Palma
From all of his films, he uses the ambiance sound as background music for most of the time. I do not think he pays much attention to the details, the materiality or composition. However, what’s really good about his films is the captures of the activities which explain the function of the space.
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The searcher John Ford
M.S. Following Shot Straight-on angle Duration: 19s
Temporal & Spatial Relationship; Match Action;
M.S. Fixed Shot Straight-on angle Duration: 6s
Temporal & Spatial Relationship;
E.L.S. Fixed Shot (POV) Straight-on angle Duration: 5s
- Analysis of a cut-in shot
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A
B
Second Main Charactor Enters
B’
A’
The Mise-en-scene has been well designed. The uncle is on one side of the axis of the camera between the two shots. Therefore, we will never see his back. Also, these two scenes are matched with action, temporal and spatial relationships. Especially the eye contact action which makes us feel that these two scenes happen at the same time. Furthermore, the dark red color clothing makes sure the character become the focus point on the screen.
- A good example of the design of Mise-en-scene
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# Applications of ‘Kuleshov effect’
Eye-line match
Instead of using one single E.L.S to film everyone on the table, the director breaks down the shot into two M.C.S. with different focus points that help us to understand which people are having the conversation. It’s an example of using ‘Kuleshov effect’ which leads us to imagine that these people are sitting on the same table and having a conversation. However, the fact could be these two shots are filmed at different times. Eye-line match
Another application of the effect in the film. Together with 180’ degree rule, 30’ degree rule, match on action, these types of editing techniques are categorised as continuity editing.
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# Shots matches with action
Main Character leaves from right side
Cut
Main Character enters from left side
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# Dissolve as the method to connect different sectors of the story
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# Doorway as metaphor of beginning and ending of the film
First Scene
Last Scene (This technique also refers to ‘frame within a frame’ which is mastered by Wong Kar-wai in the movie ‘In the mood for love’.)
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Cine-scapes: Cinematic Spaces in Architecture and Cities Richard Koeck I was obsessed with how films can influence the design of architecture, but I got stuck. What I learn from the book is film changes the way in which we record or represent a city. Thus, it’s not how we design but how we experience and understand the city from the film. Modern cities are largely influenced by the social, political and economic factors of a place. However, such a place does not always provide a sense of space. Therefore, filmmaking becomes a method for us to examine the city from a designer’s perspective. It changes how I think about architecture in an urban landscape and encourages me to think about how we create senses of a place or sense of belonging to places. However, to understand a city with knowledge from filmmaking. ‘We’ discover the similarities between filmmaking and the essential qualities of the modern city. It lies with the film montage technique which best represents the fragmented, scattered and composited qualities of the modern city. Events, Movement, Actions, ... How could we record them and represent them with filmmaking would be the key to discover by ourselves which relies on how we see and experience the city. I think it’s difficult to re-represent a city from a screen. We take photos and videos all the time when we walk around cities. However, they seem to lack filmic qualities of representing the images. I suppose what could happen to me would be a lack of narrative from my camera.
From the exercise of imagining about living in New York, I am enlighted to think about what I remember from a place. It could be my start point to record my city and my life from now on as a designer and filmmaker.
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The 400 Blows François Truffaut Inspired by the book by Richard Koeck, it reminds me of the scenes from the movie ‘the 400 blows’. The boulevards of Paris and the little lonely soul. Now, I understand that the movie was taken during the French New Wave Revolution where is a beginning point for films to take shot in real cities. (I post the screenshots here because I love the film.)
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Inherent Visual Comedy within Architecture Visual Comedy is more than a funny conversation between two people or a series of hilarious actions. It very much relies on the inherent characteristic of the spatial arrangement of architecture and other architectural elements, such as a door, a window or a piece of furniture. Conversations and actions are no more than the triggers to the happening of visual comedies. This visual essay will argue that visual comedy is generated within architecture from three different aspects in terms of the spatial arrangement, the intrinsic characteristic of architectural elements and people’s actions in space.
- Background (10%)
- Middleground (65%)
- Foreground (25%) - Camera Position
There are two significant spatial arrangements here to generate visual comedy in this scene. Firstly, the spatial arrangement of the passages where people enter into or disappear from the scene from various locations which create surprises and suspension to the audience. Secondly, the deep depth of the space which provides sufficient space for actions. The characteristic of the architectural elements set up a tone of ‘modernity’ for the film. It is well shown with the atmosphere of the space which is generated from the polished reflective floor, the metal partition walls and the metal covered columns. - Visual comedy within a space
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Lastly, the actions of the players trigger the visual comedy. We are amused by their dressing, the way they are walking and the sound of shoes walk on floor.
(The eyes of the audience are guided to visually map the space with the actions of the players.)
(The amusement is further developed by shifting the angle of the camera, it’s actually the toilets where people walk urgently or elegantly to find.)
Jacque Tati <Play time>
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These two people are talking through a glass wall which we can hardly discover. - Spatial arrangement: Inside/Outside - Architectural element: Glass Wall - Action: Borrowing fire
(Jacque Tati’s way of generating comedy in the ‘playtime’ is firstly showing to the audience an ‘almost’ right scene or action which we do not really know the actual situation. Then he twists the angle of the camera and reveals the trick as doing magic.)
- Visual comedy is generated from being inside and outside
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â&#x20AC;&#x153;Corridorâ&#x20AC;? contains (at least) two embed etymologies: an outdoor passage that becomes - in architecture and language â&#x20AC;&#x201C; indoor (and, later, outdoor again); and a relation to movement. - P.1256 - <Elements of Architecture>
The amusement here is the long time duration for the officer to walk through the corridor. - Spatial arrangement: two ends of a very long corridor - Architectural element: corridor - Action: several attempts to stand up and meet with the officer
Jacque Tati <Play time>
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The protagonist lost his way in the elevator. - Spatial arrangement: Inside of an elevator - Architectural element: elevator - Action: walk into an elevator as if itâ&#x20AC;&#x2122;s a different room
- Visual comedy is generated from being lost in space
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The protagonist lost his way again among the cubic office rooms. - Spatial arrangement: the repetitive passway - Architectural element: the cubic officerooms - Action: observing the â&#x20AC;&#x2DC;privacyâ&#x20AC;&#x2122; of the officers from above and get lost
Jacque Tati <Play time>
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The spatial arrangement is from an urban scale. The action of opening the glass door reflects the eiffel tower becomes an irony of this tour to paris that they only see all this ‘glamourous’ modern architecture. This irony has been played twice in the film. The other one is the half blocked london tower behind an iconic and similar modern building on a poster which is tagged as ‘fly to London’. I believe repeat is also the trick of Jacque Tati. Why not showing the joke again if it’s so funny? This is well explained by the door and the handle scene.
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â&#x20AC;&#x153;The door is the most comic element of architecture, building up and foiling expectations, and facilitating frantic passages on and off stage. Slamming doors and unexpectedly opened doors are a trope whose predictability is part of its allure.â&#x20AC;? - P. 562 - <Elements of Architecture>
Mr. Hulot acts as the door - Spatial arrangement: Inside/Outside - Architectural element: the door handle - Action: acting as the glass door
Jacque Tati <Play time>
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A frame with in a frame. A giant fully transparent window shows the interior space of this modernist manâ&#x20AC;&#x2122;s apartment. The play with inside and outside of a window is a cliche in comedy and horror films. However, we still find itâ&#x20AC;&#x2122;s funny since the window frame has been designed so large. The trick here is to exaggerate the scale.
Jacque Tati <Play time>
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“From prayer rugs to tatami grids to basketball courts, the floor has established a few presumed, if unspoken, rules of the game.” - P.5 “The floor delivers instructions to the body that need not be translated into language.” - P. 34 - <Elements of Architecture>
Jacque Tati <Mon Oncle>
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Window as absurd eyes: Jacque Tati, Mon Oncle, 1958 - P.778 -<Elements of Architecture>
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The intrinsic characteristic of a glass wall or door includes the separation of space with a blurred boundary and the nature of a ‘modern’ corridor is usually described as a single boring repetitive passage. A glass door can also reflect which brings back our memories. A repetitive space is easy for people to get lost, a modern cubic office room has no privacy by observing from above. These inherent nature of the architectural elements and space are well designed for visual comedy in the film of ‘play time’. From an interview with Jacque Tati, he said that observation on daily life is the key to create comedy. Everything from the film ‘play time‘ is shot on built set. Jacque Tati played with concrete, steel, and glass with a massive construction. He is very precise with the nature of the architecture space which he has designed and architectural elements that he used to generate visual comedy. It gives us a feeling that everything is right! For example, people do hit into a glass wall. It inspires me to do reverse engineering with my own design. Start with the nature of the space that I want to ellaborate and reflect it into the whole project.
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Different from any of the Jacque Tati’s movies, the ‘home alone’ series is shot with a real estate. The house is an old red brick georgian style house with 5 bedrooms and 4 bathrooms. However, the filmmaker did change some parts of the house to create the film.
Chris Columbus <Home Alone 1>
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Staircase
- M.L.S
- M.C.S
As Koolhaas stated that staircase is always demanded architecturally and physically for allowing ascent to an upper floor or a higher spiritual state. Spatially a staircase is a surface built in an angle. Meanwhile, the staircase in contemporary time is associated with danger. In comic films, audiences are more interested in seeing how people fall downstairs from the top or how people fail to climb a stair. Furthermore, a staircase connects at least two spaces, for example, the ground and the upper chamber. It implies different heights of space both physically and visually. The spatial arrangement becomes the key to ensure the success of the visual gag in the following video clip.
- C.S
- M.C.S - Tracking Shot
- M.C.S - Top Angle
- Fail to climb the iced stair
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Different from the staircase in other genres of films where the staircase could be used for creating hesitation, danger, and a symbol of changing in the character’s inner self. The main characteristic of the staircase in comic films is mainly focused on its basic function for allowing ascent. In this case, I think it becomes more architectural in comic films where the spatial arrangement and the basic nature of the architectural element play the key to create visual comedy.
- Staircase as an angled surface
Upper Chamber •
• Height Difference
Ground •
- Staircase as a connection to at least two space
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We all fall down a slippery staircase occasionally but none of us would fall the same way as they do. The staircase sets up the slope and the height difference, and the actions of the players make us laugh.
- Action as the trigger for visual gags
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- A quick glance of the set up of the situation for creating an expectation
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In this scene, the spatial arrangement is key to play the visual gag. A suspension is created by the visual discontinuity between the house burglar and the boy. The audiences would have expected the boy to hit the burglars’ heads and the expectation is meet ‘twice’. However, one shot is not paralleled in composition but action of being hit by the can.
- Repetition in action & composition to enhance the visual gag
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Door In the book <Elements of architecture>, the door is noted as â&#x20AC;&#x2DC;the most comic element of architecture, building up and foiling expectations, and facilitating frantic passages on and off stage.â&#x20AC;&#x2122; Similar to the staircase, how people fail to open the door is the key to create the visual gag. Meanwhile, a door implies a spatial separation of the inside and outside which creates unexpected surprise in comic films.
- Door creates visual discontinuity & suspension
- Walking through the door activates the trick
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- The trick on the other side of the door
- The trick on the same side of the door / Home Alone II
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To expand on the nature of the door itself. Each components of the door can be applied for creating visual gags.
- Dog hole is used for a trick
- The Handle is used for a trick
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“The floor delivers instructions to the body that need not be translated into language.” - ‘Elements of Architecture‘
- Fall down on the floor / Home Alone I
Floor - Fall down on the floor / Home Alone II
- Fall off the floor / Home Alone II
The concept of the ‘rule of the game’ is being played again. The floor defines how we walk through a space. Furthermore, “The floor is the customary technology for negotiating between gravity and the upright body… Floors can fall away or out from under, but they are usually there, idling beneath us.” Or not…
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- Kickin
Door Comparing Charle Choplin with Jacque Tati and Chris Columbus, I understand the â&#x20AC;&#x2DC;personal signature of each film director. Jacque Tatiâ&#x20AC;&#x2122;s door has more attention to materiality. A glass door can mislead people to hit on the door and break. A glass door can also reflect. However, a giant steel door is too heavy to support itself and it falls. Chris Columbus is more focused on the spatiality and the physical nature of the door. A door separates the inside and outside space. A door is a machine with its own components. Similar to Chris, Charle Choplin also look into the physical intrinsic nature of the door as a machine to operate. However, the trick for Charle relies on the operation of the door itself. The common point for all three film directors is that how does a door fail to do what a door has been designed to do. Week 05
ng the wrong door and hit people on the other side
- Open/Close the door and hit on the door
- Push against the door and the door break
Materiality
Physicality
Spatiality / Sparation
- Charle Choplin <Modern Time> & <Golden Rush> & <The Bank>
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- Goin
- Kid t
Window The window is being used as a passageway to enter/leave a space in films by Chris Columbus and Charle Choplin. Itâ&#x20AC;&#x2122;s certain that this is not what windows are designed to do. However, Jacque Tati focuses on the transparency/Materiality of the window. In his films, a window has been portraited as a frame within another frame.Â
Charle Choplin <The Kid>
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ng inside and outside from the window
throws stone to break the window
- Man grasps Choplin from behind (Window)
Materiality / Transparency
Spatiality - Passage
Framing
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- Floor fails to support
- Walking the wrong direction on an escalator
- An angled house on the cliff
Other architectural elements Chairs, tables, mirror and any other objects, which includes the house, in our daily life can be used for creating visual comedy. Different ways of exploring the nature of those elements become the personal signature of the filmmakers.
Week 05
How does film help me to learn architecture Before I take the studio I understand the relationship between architecture and film relies on the action of the character within different space which was influenced by Bernard Tschumi. However, the idea was vague and I could not tell how actions can help me to have a better understanding of architecture. Studying film by disassembling films into form, cinematography, mise-en-scene, sound, etc. enlights me to think architecture as a combination of various different components and the relationship between them. In other words, architecture as a machinic body with organs. Looking deeply into films and exploring how does each architectural components play a role in our daily life gives me a better understanding of each of them. Namely: “What a door can and cannot do?” “How does a glass window work?“ “How does the floor change the behavior of people?“ ... ...
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Buster Keaton & Impossible Gags
- A wrong Placing Door
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- Paint a Hook
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- A facade falls down
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- Visual gags within space
- Buster Keatonâ&#x20AC;&#x2122;s Impossible Stunts & Gags (https://www.youtube.com/watch?v=mf6Lz1cT2L)
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Tom & Jerry Cartoon Visual Gags - Door
- A door falls down
- Caught by a door
- Unexpected visitor
- Door opens on a wrong direction
- Suprise on the other side
- Open the door from the other side
- Smashed by a door one way or...
- Another...
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Mise-en-scene of the ‘Home Alone I’ Chris Comblus The first thing has been pay attention to the house is the ‘style’ which is a georgian style architecture. The filmmaker tried to unify the style of the house by covering the porch at the back with red bricks. Furthermore, the frame and lintel for the door and window also have been ‘designed’ to fit into the georgian style house which is brickwork, symmetric and classical.
- The original porch
- The porch in the film
- Elements that specify the georgian style: red brick, symmetric composition and classical language of the design
- Home Alone Filming Locations - Film Crawl #1 (Youtuebe)
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To render the atmosphere of the Xmas, the filmmaker filled up the house with items colored mainly in red & green. The screen has been filled up and balanced on both sides. However, it is Xmas, that people decorate their home with many small items which symbolize for the festival.
Wall paper Red Green Red Carpet
- The Home Alone house -- a great place to call home(Youtuebe)
2 Pictures Red Green Green Tree
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Whatâ&#x20AC;&#x2122;s interesting in this scene is how color being used to grasp the attention of people. The position of the pizza delivery boy and the â&#x20AC;&#x2DC;bad copâ&#x20AC;&#x2122; are differentiated by standing in the red colored zone and green colored zone.
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Analysis Diagrams Stage 1 - Scouting
N
3
4
2
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1
Attempt 1 - Back Door
Attempt 2 - Window
Attempt 3 - Back Door
Scale 1:100 Attempt 4 - Window - Floor Plan reference: INTERIORS: Home Alone https://www.archdaily.com/577316/interiors-home-alone
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Stage 2 - Invading
N
1
7
5
2
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3
4
Failure 4 - Needle / Stair
Failure 1 - Dog Hole / Door
Failure 5 - Handle / Door
Failure 2 - Ice / Stair
Failure 6 - Fire / Door
Failure 3 - Ice / Stair
Failure 7 - Decorations / Window
Scale 1:100
- Floor Plan reference: INTERIORS: Home Alone https://www.archdaily.com/577316/interiors-home-alone
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Stage 3 - Breaking into the house
N
3
1
2
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Failure 1 - Feather / Door
Failure 2 - Toys / Floor
Failure 3 - Heavy Can / Stair
Scale 1:100 Failure 4 - Wire / Corridor - Floor Plan reference: INTERIORS: Home Alone https://www.archdaily.com/577316/interiors-home-alone
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Circulation Analysis
Circulation is very important in the film because Kevin guides the burglars to places where he sets up the traps. The front gate and the back door of the basement are poured with ice. Meanwhile, the handle of the gate is heated and the staircase of the basement has needles. Therefore, the burglars are forced to either break into the room from the back door of the kitchen or the window which is open in the living room. Ultimately they are guided to climb the staircase where they would be hit by heavy cans. (INTERIORS Journal, 2015)
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N Scale 1:100
- Floor Plan reference: INTERIORS: Home Alone https://www.archdaily.com/577316/interiors-home-alone
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Precedent - House N VS. Medieval Castle
- House N Plan
- Spatial Hierarchy House N Plan
- House N Section
- Spatial Hierarchy House N Section
Spatial Hierarchy, in this case, is divided by the levels of privacy of the space. Similar to the â&#x20AC;&#x2DC;Home Alone Houseâ&#x20AC;&#x2122;, the basic typology of the architecture consists of cubic spaces but arranged in a different form to emphasize the security of the space. Comparison between the profile of the floor and the section, visual continuity of the space has a larger role in vertical session than horizontal which provides sufficient light and connect to the environment. However, the complexity of the space is certainly been considered in both directions.
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- Medieval Castle Sectional Perspective
- Medieval Castle Section
Similar to the House N project, castles are designed to protect and to secure privacy and property. What contrasts between these two projects is the circulation which the former have much more flexibility for connection between the space and the latter has a singular circulation where people are forced to enter in one way only.
- House N / Sou Fujimoto Architects - https://www.archdaily.com/7484/house-n-sou-fujimoto - Features of a Medieval Castle - https://sites.google.com/site/year8medievalcastles/features-of-a-medieval-castle - Castles are different??? - https://www.slideserve.com/bobby/castle-architecture/?utm_source=slideserve&utm_medium=website&utm_campaign=auto+related+load`
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Precedent - Architectural Elements VS. Space VS. Visual Comedy
- Kengo Kuma: M2 Building, Tokyo, Japan, 1991 © wakiiii
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- Michael Graves: Team Disney Building, Burbank, California, USA
- Sorry, columns donâ&#x20AC;&#x2122;t always make a new building look old! - https://ca.phaidon.com/agenda/architecture/articles/2020/february/12/sorry-columns-dont-always-make-a-new-building-look-old/
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Fisrt Floor Floor Plan - Symmetric Design
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Fisrt Floor Floor Plan - The Golden Ratio
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Window as unexpected exit
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Cinematic Re-design of the parentâ&#x20AC;&#x2122;s room
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The Ceiling
The most iconic architectural mime created with ceiling is from everything inside drop out. Meanwhile, the characteristic of the comedy films and Cartoon, which are explained as follow. The spatial quality of the ceiling which is played in comedy film
- Things that are concealed by the ceiling could drop out; - Jacque Tati â&#x20AC;&#x2DC;play timeâ&#x20AC;&#x2122;;
- Something or someone from the belowed space could bounce up and hit through the floor;
Level of Relevance - Architectural Mime Creation
Characteristic of the Ceiling
Space defined by the Ceiling
Actions of the protagonist
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the ‘play time’ by Jacque Tati when the ceiling falls and e hanging is being played in mainly two different ways in
ms is the separation space into up and below space.
- Ceiling can be used for hanging with pulley block; - The most iconic play is in the ‘one week’ by Buster Keaton when he uses the block to drag the piano;
- By many chances in comic films, people would bounce up and hold the light on the ceiling. Then we would witness a dramatic fall;
Level of Relevance - Architectural Mime Creation
Characteristic of the Ceiling
Space defined by the Ceiling
Scale bar: 0
Actions of the protagonist
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The Facade So far, the inspirations of the following three scenes are derived from Buster Keaton.
- A facade is falling down (Setting); - What is funny and scary in this scene is the standing position of the protagonist that allows the window frame fall through him;
- A facade is falling down (Action); - What is funny and scary in this scene is the standing position of the protagonist that allows the window frame fall through him;
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Aâ °
- The facade can be constructed with an angle;
- The door and window can be placed upside down(Setting);
- The door and window can be placed upside down(Action);
Scale bar: 0
0.5 1
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The Floor
“The floor is the customary technology for negotiating between gravity an the upright body… Floors can fall away or out from under, but they are usually there, idling beneath us.” Or not…
“The floor delivers instructions to the body that need not be translated into language.” Although the floor is usually portraited in a two-dimensional surface, it defines the action and behavior of the character. In Koolhaas’s word, it defines the ‘rule of the game’.
A floor can fail to support
- A floor can collapse;
- A floor can rotate and people would fall down;
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o
s
- A hole can appear on the floor;
- A large part of the floor can be missing;
Level of Relevance - Architectural Mime Creation
Characteristic of the floor
Space defined by the floor
Scale bar: 0
0.5 1
Actions of the protagonist
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The floor defines how we walk
- A floor can be slippery;
- A floor can set up tricks;
Hi!
Hi~
- A floor can be designed with a path to follow; - In â&#x20AC;&#x2DC;play timeâ&#x20AC;&#x2122;, two people who greet and talk to each other in weird directions when they walk on the path;
Outch!!
- A floor can hurt with nails;
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- A floor can hurt when swords pops up from belowed space;
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Level of Relevance - Architectural Mime Creation
Characteristic of the floor
Space defined by the floor
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The floor can be mechanical
- A floor can spin; - In the ‘Haunted House’, Buster Keaton was captured by a ‘Ghost’ but he failed to run away since he was running on a spinning floor;
- A floor can move forward and backward on the opposite direction of the movement of the protagonist;
- A floor can be designed with a hiding place; - In the ‘Naked Gun’ Series, a man disguises himself by hiding beneath the floor;
- A part of the floor can rotate(Setting);
- A part of the floor can rotate(Action);
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- A floor can be designed as a trampoline(Setting);
- A floor can be designed as a trampoline(Action);
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Spatial Arrangement Arrangement of the doors
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- A row of doors can be used to capture repeated simultaneous (or not) actions; - Actions can be done with an order or a rhythm;
- A row of windows can also be use - Juxtaposed windows can be used
- A row of doors can be used to capture chasing scenes; - The visual discontinuity between the characters is the key to make this scene successful;
- In ‘Neighbors’ by Buster Keaton, windows, they also leave from the
- Two juxtaposed doors can be used to highlight the difference of actions, for instance, man or lady’s toilet, entering or leaving door etc.
Arrangement of t
- Two juxtaposed doors can also be used to enhance a series of symmetrical & simultaneous actions;
- the visual discontinuity caused by ters for the protagonists. However, of the camera and we are expectin
- The juxtapositoning of doors can be used to repeat an action in order to enhance the emotional effect or visual languange in comedies.
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the windows
Arrangement of the space
ed to capture repeated simultaneous (or not) actions; d to capture the fractions of a continuous action;
- The physical discontinuity of space is achievable in comedy film. In another word, the space in comic films do not have to physically connect to each other, what can be used to connect the space includes things such as the action of the players, a moving object etc.
three men step on one and another to enter from the window;
the wall - A series of connected space can be used to capture a series of continuous actions, the benefit is that we watch the action from the sections of the space which explains well in terms of the relationship between the action and the space;
y the corner of the wall can create unexpected encoun, as audiences, we know the situation from the position ng to see the suprised encounter; - Discontinuity in heights of the space can also be used for creating visual comedy with the positioning of the players;
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The Staircase
As Koolhaas stated that staircase is always demanded architecturally and state. Spatially a staircase is a surface built in an angle. Meanwhile, the s audiences are more interested in seeing how people fall downstairs from
- The stairs can turn into a slope(Setting);
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- The stairs can turn into a slope(Action);
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- The handle can be used to slipe down from the upper flloor;
- Objects could chase the player and fall down the stair;
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d physically for allowing ascent to an upper floor or a higher spiritual staircase in contemporary time is associated with danger. In comic films, the top or how people fail to climb a stair.
The stairs can also turn into a slope with a carpet (Setting); The most iconic scenes are from ‘Tom & Jerry’;
The stairs can turn into a slope with a carpet (Action); The most iconic scenes are from ‘Tom & Jerry’;
A very long stair can be used literally as ascending to the heaven;
A very long stair can be used literally as descending to the hell;
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The Wall
- A wall can prevent the player from getting through (or encourage the player to climb the wall);
- A wall can prevent an object from getting through (or rebound the object);
- On the contrary, a wall can also fail to stop someone from getting through;
- A wall can also fail to stop something from getting through;
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- A wall can rotate and behaves as an secret doorway(Setting);
- A wall can rotate and behaves as an secret doorway(Action);
- A wall can frame our view and cause misunderstanding of whatâ&#x20AC;&#x2122;s on the other side;
- A wall can fail to support;
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The Window
- Window can encourage the action of peep(Closed);
- Window can encourage the action of peep(Open);
- Window can be used as unexpected entering or leaving exit (Setting);
- Window can be used as unexpected entering or leaving exit (Action);
- A window operates vertically can drop down and hurt the player (Setting);
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- A window operates vertically can drop down and hurt the player (Action);
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- A window can be oversized and display everything happening inside the room; - Jacque Tati ‘Play time’;
- A window can be too small and show only parts of the movement and cause misunderstanding of the action; - Jacque Tati ‘My Oncle’;
- A window can frame our view by only reveal the bottom;
- A window can frame our view by only reveal the top;
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The Space Space in comedies is more perceived as a stage design. In addition, how we view the space as audiences really depends on the angle of camera. The angle of the camera defines the front & back of the space, the left & right of the space. For instance, the protagonist cannot see the tricks because the tricks are not hiden from the angle of the camera.
Top view
Leftside Elevation
Front Elevation
Axonometric
Back Front
- The camera only shows the man in the front of the space but not the man behind;
Left
Right
- The space is being considered as the left and right sides for creating symmetric actions;
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- The space can be too small and filled with full of people;
- The space can rotate in horizontal;
- The space can rotate in vertical;
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Feedbacks Analysis & Future Directions Frank (Analysis of why I got these feedbacks & what I can do to improve) p.s. I did not fix the grammar from miro notes. It needs to be better framed / study on how other people/films their pranks The pranks that I proposed are lack of depth in terms of the narrative, the complexity, the structure, and cinematography etc. I am watching again the films by Buster Keaton, analyzing and comparing the difference There needs to be a narrative (different phases e.g. actions that happens at each phase). I did not talk about a narrative, I just explained what would happen for each scene. I did not have it because I have not finish the category thing for architectural mimes which means that I did not organize my scenes based on my analysis and study, so I could not build up a narrative structure. It’s also the reason that I lack of connections between my study and my design, because they are not linked to each other in the first place. I am trying to sum up the rest of the category which includes the window, the ceiling, the staircase, the floor and architectural juxtaposition which should be done before our meeting on Wednesday. Than I will write my narrative based on the connections to each architectural elements. Don’t describe the joke/prank too much. when you do it loses its ‘funny-ness’ Show WHAT you have done and show HOW it is done For adding prank ..... show how you would execute ? May be not explaining the too much might spoil the fun I understand the problem given by Jonathan and I agree with him. I think the problem is that I have not dive into cinematography which leads me to explain my pranks verbally but not visually. I should also think & mention how it’s going to be filmed while I am introducing my pranks which can help me from explaining my pranks verbally.
What’s the format of final presentation going to be / look like?? Video essay would work better for me since it needs to illustrate the action. Hamid: What is the project view?? Sorry that I am not quite understanding your question. Hamid: there was no relation between the analysis u made and the pranks u staged. Yes, I did not explain the connection between them, the analysis that I made was almost represented as a separate project. The connection from the analysis and the project should be made clear in the coming weeks. Hamid: was bit troubled with the hierarchy of the project Sorry that I am not quite sure what makes you feel confused, I would talk to you on this when we meet on Wednesday. It needs a better framing and study (not through the books) but how other ppl perceive it I skipped the parts of How I got influenced by the films in my presentation. However, I think the problem is that I am still categorizing the architectural mimes. So the focus is on what have been done in films but not how & why they have done it. It also refers to the category that I have made which does not quite explain how the prank is made. After finish the category, I will pick some iconic ones to analysis on how and why it’s being done. Then showing how they have been inspiring to me to build up the connection between the analysis and the actual design. The way of presentation is very crucial As Jonathan said, I was trying to cover everything that I have done at this stage since it’s mid-term. I will organize my presentation and do a rehearsWeek 08
al with my friends before the actual final presentation. An overarching narrative would be nice with different phases Gotcha, will do it. Think of movement in spaces like staircase and relationship between different parts of the space Gotcha, I will do it for the coming weeks. It needs a world map of the events happening and what going to happen Gotcha. what’s the consequence of opening up a door? a window? a space? I am thinking the same, but it’s clearly that I am doing enough. I think this is the most difficult part for me. I am going to watch those films and focus more on why they have done it. Present it like a standup comedy - dive into it! Is your design - the whole house? Currently is a snippet out of the whole project? Yes, but I am also considering if I should do the whole house. However, you mentioned that I need to think about things from a larger scale, I will try my best to do it. Check out long history of “comedy in films” – slapsticks I will have a look. something of a bigger architectural element for architectural comedy instead of just smaller elements Gotcha. Personal feedbacks from Telegram: Too conservative For me, I lack some creativity for the design but also I am confused what’s the limit of my visual comedy? The film is a very realistic film, I feel
difficult of making crazy things from it. However, scenes that I have designed for now has a strong connection to the original films. Things that I have considered that draw the outcomes of my current design: 1. It must be something from home 2. It must be something that is movable by a 8 years-old-boy 3. It must use something that is normal at home, I cannot think of if I can put an elephant at home or should I? or making a crazy designed house? I think the focus should be on visual comedy but not crazy design… This is how I make it conservative to myself. I think what I am hesitating on is what type of space that I am going to design? Stick with the current setting of the house? Or do crazy things such as a wrong placing door? What about the connection to the original film? visualization I agree that the last part of the presentation is very bad, I think that I will abandon realistic renders but just drawings and linework for the final. I am not sure if the rest of the diagrams are so bad or explaining things unclearly… I will put some referencing images side by side to my drawings and to compare the difference. However, it would also be helpful if you can point out some critical issues with my drawing skills. I am trying to organize a meeting with Nick, but no one from our class is responding to me. Nothing about the study on Buster Keaton or Chaplin I will watch the films again and make deeper analysis into the films in this week. Complexity of machines I will give it a try ASAP. Comments from last week: When you craft them may show character to make it more active and lively Gotcha Considering material and mechanism can be considered Gotcha 175
Cartoon gags - can be interesting to see its translation into reality Gotcha Relationship between diagrams from the left to the right unclear Future Direction: 1. Watching the films and focusing more on why and how they have done it. 2. Finishing the category. 3. Selecting a visualization style and study on it for the rest of the semester. 4. Design scenes which are on a larger scale. 5. As you said in general, we lack of work. I will just try to produce more from each week till the end. 6. Work faster and more strategic In general, I think I am on the right track and I am doing a comparable amount of work compare with other students. The thing is that the film that I picked requires me to categorize many things as a foundation for further development. I have not built up the foundation which prevent me from going deeper and more meaningful stage. I will try to work more.
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Feedbacks Analysis & Future Directions for the Classmates Nitesh – The cabinet of Dr. Caligari (P.S: I had a glance of the movie but I do not the whole story.) This is what I understand on what you are doing: - designing an Italian expressionist city - making a horror movie with suspense and fear How I will proceed from my approach: -would be making two lists: 1. Things create suspense and fear from the film; 2. Architectural elements that is designed to be Italian expressionist architecture Comments: 1. scale of your drawing – The only long distance shot in the film, which shows the profile of the village, is being used as a background. My concern is that the 3D dimensional quality of the film is not displayed from an urban scale but from a domestic scale. For instance, the play of the inside & outside and walking down a staircase or opening a door. The style of the architecture is expressed from a window, a door, the face of a wall and people’s action and emotions. I would make a 2D long shot drawing to give a big overview of the style of the city that I am going to design. Then do everything else from a domestic style and pay attention to cinematography. 2. connection to the film – think about how the stylized(or not) staircase, or a window, or a door is used for creating suspense/fear from the film (I am thinking about this because I am categorizing for visual comedies) Brenda – The Grand Budapest Hotel I think you have a rigid and clear analysis of the film and a very good approach in terms of making a narrative and design the space based on the narrative. Suggestions: Using diagrams and drawings to show your narrative instead of words of descriptions of what’s happening. Meanwhile, you can add more detailed things in your drawings to enrich the architecture interior. Alice – Paterson
I like how you map out the space and how you draw. I think it has been done well. Issac – control -Astral Plane Personally, I do not really see the connection of the diagrams that you have made and the space that you have designed. I had a glance of video game from YouTube, I think the corridor you have designed has a good interpretation between the movement of the character and the space. In the game, I think there is a clear direction of for the character to go and the difficulty is how. The corridor with the triangular structure does give a clue of where to go and a similar perspective from the video game. However, I do not think the staircase that you have design has the similar quality, which seems much random and lack of clues or purpose. Moreover, there are cues and interaction with smaller domestic objects in the video game as well which give a sub-narrative to the film, I think you might add it in as well. Eden – The window 1. I think you need a deeper understanding of the conceptual characteristic of the window, especially from a cinematography aspect. For instance, what a window can represent? What emotions can be created from a window? What actions would be framed by a window? etc. Than designing your narrative and scenes. 2. Do not use realistic rendering if you are not good at it. 3. Line weights can be improved to demonstrate the depth of the space. 4. Thinking more about why they have been framed instead of what have been framed, both of us need better understanding and more study on the topic that we are working on. 5. Lack of architectural conventions. 6. Disorganized presentation board. Jenny – Machinarium (P.S. the conversation I had with Jenny) 177
From what I remember about the comments to you, I think you were working well last week, I am thinking about 3D quality of your drawings, you can make your character not just moving left to right or moving up and down. You can make the character move in or out of the frame, for example, one drawing showing the back of him walking towards a staircase and the next drawing showing the section of the stair and what he may encounter on the stair. Another thing is the perspective of the drawing, the original drawings lacks of vanishing points which makes them flat. 3D quality can be added to drawings by varies in line weights and the transparency of the line. I think what I will be doing if I am you would make a narrative of a series of space and actions for maybe 5 small scenes in a tower, do a quick and rough sketch design in terms of the spatial relationship among each of them than draw with hand. Than scanning into computer to add colors at a later stage. I think to break through the box of your game, you can show perspective views of the space, use sections or even top view to show the space that you have designed. The rooms that you have for now feels like they are only connected in one direction but you can show a 3D quality with perspective drawings. I am thinking about a program diagrams about the scenes that you can design, how they overlaps or on top of each other. Ewen – Process of murder in Jack’s eyes I think there are more things that I can learn from him instead of making comments. The only comment that I would give is the annotations to his diagrams which make it a bit hard to quickly understand his drawings. Ziwei - The Platform What are the transitioning points from reality to dream? I was thinking about ‘the eternity and a day’ which use window frame, door frames as transitioning into different memories. I remember from last week that you have talked about very conceptual things like how the platform can be iterated and transformed but it’s kind of lost for the mid-term presentation. I think the controversial thing is the form that you have picked which is not generated from conceptual analysis and programming. This is why people think that you lack of reasoning and your
form is too banal. I recommend on one hand, what you can do is to study on dreams and search on how we may organize space in dreams. On the other hand, look into the conceptual aspect of the platform as what you had from last week. Then you can re-develop your space and form. William – Nier Automata Personally, I think you dive into making a comic book rather than a film. However, it’s a very excellent storyboard. I am concerned about this because I do not know if what drives the form of a comic book story and an architectural film can be the same or they have differences. You have a narrative & sub-narrative and the action of chasing & fighting. Apart from the question of the interaction with the architecture, I wonder how you would show it cinematically. Charon- The long journey into the night I think she is doing well Cicy – The Parasite The comments are very clear on Miro and from previous week. So I am just going to talk about what I think she can improve on: The rhythm of the film, I am imagining a scene when the wealthy lady weeks up in the morning, her curtain goes up smoothly and sun gets inside gradually, than classical music is up, the light in her bedroom towards the corridor is turned on one by one following with a pattern. Water is ready for her on the bedside, the water from the fountain rises with the music and the bright sunshine covers the entire room. All of this action is somehow musically connected with a rhythm. The room’s location/facing/Furnitures and everything else is designed to enhance the rhythm of the space. This is not ‘Fengshui’ but making connection to the film from rhythm study. In general as a group It’s unclear who is doing unbuilt or who is doing re-design, maybe next time we should organize our presentation order by groups. For instance 1.2.3.4 are doing cinematic re-design – 3.4 are Week 08
doing games 5.6.7.8 are doing unbuilt – 8 is doing a game Also it’s unclear what’s the original film or game looks like? Make it hard to make a compare on what’s new or what’s have been changed.
Feedbacks from Nick Frank • Think about ur design as a architectural designer or film designer • Think in an extraordinary way about what is happening in the space • Could create some digramic space • What if the house is the boy’s crazy space to trick people • Pick some of the phrase you wanna emphasize, pick the camera frame view and design from the view. • Extragrate the space • Re visualize what this space will look like • Think about how you are gonna capture emotional move, how your perspective to be funny and surprising
angles and perspectives - composition - your design as a architect -make these moments special -room oversize , corridors ,dramatic thing behind a normal door -bookshelf falling, the space of full to fall? -what’s on the other side of the window -you got lots good ideas, push the architecture , elements -where’s the camera , what’s the views and viewers , with the camera lens key frames -exaggerate the space, proportion and scale -elements of surprise is good
• Might wanna consider how these pranks are depicted in final task - will they be shown through a few key frames? • If you open a normal looking door, the space is suddenly a miniature or way too big, or something dramatic where you would fall down • Bath tub - what if it’s a vortex of a space if you fall down into the bathtub and you end up into a different space - then how does that work? How would the space look? • A bookshelf falling - how do you make that fall? What kind of architecture, spaces could you design to create that comic response? • Elements of surprise that an architect can do? • Play with contrasts and tricking people - house as a maze of crazy spaces - corridors could be normal yet doors,openings as the portal to crazy spaces • Designing backwards - how the space would look in a key frame - set up the camera 179
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Week 12
Scare him
Trick him
Trick him
Hurt him
Capture him
Wrap him
hit him
Stop him
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Kevin’s space
Double Story Bedroom
Bedroom 1
Bedroom 2
Home Offce
Family Room
Living Room
Foyer
Toilet
Kitchen
Parent’s Room
Dinning Room
Storage
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Gag Apparatus - Jurassic Park
Capture Machine
Crus
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sh Machine
Digest Machine
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Gag Apparatus - Shadow Puppetry
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ROTATING SPACE GAG MECHANISM Inspired by Buster Keaton’s ‘one week’, the gag mechanism utilize natural wind power to rotate the space; The design aims to keep the burlgar outside of the attic.
d c/f
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BALLOON GAG MECHANISM Gags can be created with a cartoon effect by exaggerating the function or ability of an object;
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WRONG PLACING GAG MECHANISM Inspired by Buster Keaton’s ‘one week’, the gag tries to amuse the audience by putting the door in a wrong place where connects to the outside from first floor.
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FLIPPING CEILING GAG MECHANISM Flipping ceiling/floor slab, the mechanism creates an unexpected vertical entrance/exit in front of the camera. Meanwhile, one of the rules of creating gags is that things enters or exit from the screen in unexpected methods.
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FLIPPING WALL GAG MECHANISM The gag mechanism challenges the static state of a wall and the scale of the door in order to create funny interaction between people and architectural elements.
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Ouch!
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MOVABLE PANEL GAG MECHANISM Inspired by the game ‘hide and seek’, the design aims to help the boy lock the burglar up in the storage room under the staircase.
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JURASSIC PARK GAG APPARATUS The apparatus is inspired by the scenes from the film â&#x20AC;&#x2DC; Jurassic Parkâ&#x20AC;&#x2122;. The machine is a T-Rex, it captures the burglars, crushes them and eats them alive!
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Digest
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Crush
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Trigger is beneath the carpet;
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Vases are dragged down from the wall;
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Piano falls down from second floor;
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Burglar is captured by the door frame and is thrown forward;
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Clothes is removed with blades, the burglar falls into heated water;
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TOWER DEFENSE GAME GAG APPARATUS The apparatus aims to trap the burglar in the basement. It includes a seuqence of barriers in the space which prevent the burglar from moving forward.
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Punching machine;
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Wrap the burglar with wires and furnitures;
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Hurt the burglar with a plough;
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Attack him with pigments and tennis balls;
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Create a slippery floor with Christmas decorations;
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Glue and needles on the staircase (Connection to the original film);
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BAKERY GAG APPARATUS Inspired by bakery process, the machine aims to trick the burglar with eggs, explosive powders and fire in order to turn him into a cake.
Add Fire Powder
Add Eggs Explode
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Dominos would collapse because the wire is being touched;
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The fallen Hammer would open the door of the microwave;
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The mug would be released from the microwave;
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Eggs would be poured on the head of the burglar;
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Fire powder is blowed to his face when he opens the cupboard;
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Fire would be ignited on the cooking bench when he tries to move the chairs on the ground;
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PERCUSSION MUSIC APPARATUS
FLIPPING CEILING GAG MECHANISM
The apparatus aims to turn the space into a drum kit in order to use sound as a method to prank the burglars.
Flipping ceiling/floor slab, the mechanism creates an unexpected vertical entrance/exit in front of the camera. Meanwhile, one of the rules of creating gags is that things enters or exit from the screen in unexpected methods.
d
SHADOW PUPPETRY GAG APPARATUS Kevin: “ I made ornaments out of fish hooks.” Dad: “My new fish hooks?” Kevin: “I cannot make them out of the old ones... with dry worm guts stuck on them.”
c
Inspired by the Chinese Shadow Puppetry, the apparatus use fishing rod and cardboard made people to prank the house burglars in order to make them believe there is a party inside the house.
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They have not went to Paris?!!
Let’s check again tomorrow.
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ARCHIGAG
CINEMATIC RE-DESIGN - ‘HOME ALONE’ HOUSE The ArchiGAG project takes the film ‘home alone I’ as a resource to re-design the house from a narrative perspective for the little boy Kevin to prank the house burglars and defend himself. The inspiration of the project is derived from slapstick comedies, and the purpose is to experience with the possibilities of turning a house into a machine of gags.
ROTATING SPACE GAG MECHANISM
?!!!
BREAK IN
C
ATTIC
3000mm
FLIPPING WALL GAG MECHANISM
Ouch!
WRONG PLACING GAG MECHANISM 3000mm
FFL. 3400
FFL. 3400
3000mm
You go down basement from the elevator and I will search the rooms.
G
CAPTURING
H
BEDROOM
SEARCHING CORRIDOR
2400mm
FLIPPING CEILING GAG MECHANISM Let me out!
MOVABLE PANEL GAG MECHANISM FFL. 200
F
ESCAPING HOME OFFICE
E’
FLIPPING CEILING GAG MECHANISM
CAPTURING STAIRCASE
6000mm
Add Fire Powder
Add Eggs
3000mm
Explode
FFL. 200
BAKERY GAG APPARATUS
3000mm
Digest FFL. 200
SHADOW PUPPETRY GAG APPARATUS JURASSIC PARK GAG APPARATUS FFL. 200
PERCUSSION MUSIC APPARATUS They have not went to Paris?!!
Crush
Let’s check again tomorrow.
Capture
Let me catch the boy, you go and find valuables.
E A
SCOUTING
D
STEALING KITCHEN
ENTERING
BALLOON GAG MECHANISM
FOYER
TOWER DEFENSE GAME GAG APPARATUS
3000mm
Capture
B
BREAK IN BALCONY
FFL. -3000
Obstruct
Attack
H’
SEARCHING BASEMENT
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