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J O U R N A L
ISAAC YONG
C O N T E N T S
C O N T E N T S
01
FEDERATION SQUARE
02
FILM ANALYSIS
04
CAMERA & EDITING
03
READINGS & VIDEOS
05
FILM & PROCESS
07
SELECTIONS
06
UNFILMED / UNBUILT
08
CONTROL : DELIRIUM
09
FINAL THOUGHTS
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01 FEDERATION SQUARE
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FEDERATION SQUARE
FD SQ F
ederation Square is a public square in Melbourne, Australia. Sitting on the edge of the city’s central business district, the venue caters to public, art and cultural events. The square incorporates several cultual institutions such as the Australian Centre of the Moving Image (ACMI), Ian Potter Centre as well as offices, cafes and bars.Designed by Lab Architecture Studio in collaboration with Bates Smart, Federation Square is open year round to more than eight and a half million visitors and counting...
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Studio 35mm YA R R A R I V E R
ST PA
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FD SQ YA R R A R I V E R
BIR
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MA UNG
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FEDERATION SQUARE FEATURES SQUARE 70,000 ochre-colored sandstone blocks from Western Australia elicits images of the outback
MATERIALITY There are six main materials used: zinc, zinc, glass, frosted glass, sandstone and no cladding
FACADE MATERIALITY Triangulated cladding utilizing a pinwheel pattern and the principal There are six main materials used: zinc, zinc, glass, frosted glass, of fractals sandstone and no cladding LABYRINTH Corrugated profile walls in the basement provode passive cooling through wooden slots in floor of the atrium
GLAZING Built forms are connected with glazing referencing traditional Melbourne laneways
ATRIUM A laneway-like space
EDGE 450-seat space
ZINC A function space underneath the gallery building
IAN POTTER MUSEUM National Gallery of Victoria
TRANSPORT HOTEL BAR ACMI (Australian Centre for the Moving Image) A three-level hotel complex adjacent to the southern shard on the Features two cinemas that are equipped to play any film. Additional south western corner of the square. It has a ground-floor public bar, venues within ACMI allow computer-based public education, and restaurant and cocktail lounge on the rooftop. other interactive presentations.
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FD INSIDE THE SQAURE SQ
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THE STORY BEHIND FED SQUARE DESIGN INTENT unpredictable “ Triangular, terly random wherever
and utthe eye roams; it simply looked different
“
Interested in coming up with a system through the triangular grid that we could use through a very small palette of sandstone and zinc and glass and yet create a lot of variation… something that you could spend a lot of time looking at and every time you saw it something will emerge and be a bit different
After watching the documentary, it was clear how challenging the design and consturction process was. The architects were very vocal regarding their design intent and qualioty of workmanship they sought but dues to going over budget and time constraints there were compromises.
owned it, it was no longer some“ They body's project, it was part of the city,
”
”
it was part of their precinct that they could inhabit and they could occupy
”
people flowing up the plaza as if “ See it was the most natural thing sitting
down, lounging on the grass doing all of those things, in a way treating it not as if they were sort of discovering it but as if it has always been there and was just part of the life of the city
”
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02 FILM ANALYSIS
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ABOVE - ESTONIAN NATIONAL MUSEUM 2017
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MISDIRECTION & REVEAL
Suggestion of people watching tv but cuts to reveal they are watching what is behind it. the bubble rises as if to greet the two
APPEARING ACT The stairway was previously empty but now when we return to another shot, the bubble is traversing the stairs
EXPECTATION & REALITY From the movement of the man’s shoulders and the panning of the camera we assume the man is moving but it cuts to him cycling on the spot
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ALTERNATE PATH Though there is a stair, the director chooses to make the character walk beside it on the grass pehaps either for better blocking or to suggest the eagerness and curiosity to witness the bubble
WARPED REFLECTION My most favourite shot in the short film is off the bubble floating and reflecting the Estonain National Musuem but in a warped perspective
MULTIPLICATION Another beautiful shot overlapping the walking paths of three people in an otherwise empty museum along with their reflections populate the scene as if they were five people
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LO SGUARDO DI MICHELANGELO 2004
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In the silent short film, Michelangleo Antonioni uses back and forth cuts between his gaze and the gaze of the statue to suggest that both subjects are gazing directly at one another. Each cut to the next clip seems to start with a close up shot and then to an extreme close up shot focusing on the eyes directly. The camera height and angle is also utilized to suggest who is the current viewer. For example when the camera is placed for a behind the shoulder shot of Antonioni it is clear he is the viewer. What makes the shot particularly effective is the use of depth of field to blur out the background and focus on him, the foreground, as well as framing part of his glasses as if we are viewing from his “eyes�. In the milddle of the film, Antonioni does not only contemplate with his gaze but eventually with his hands. The camera focuses on his trembling hands as he moves his fingers along the contours of the statue. The end of the film provides yet another prospective, thast of the stautue viewing Anotinioni. With camera placed high up and facing downwards, we feel as though the statue is also looking down on Antonioni, observing and contemplating as well.
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CENTRAL STATION BERLIN 2011
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Using time lapse and jumpcuts, the camera approach towards the station suggest the infinte possible approaches to the station. Use of audio “Ladies and Gentlemen, welcome to Berlin Central Staion” in conjunction with a man waving. Camera postion is focused on showing the different levels and vertical movement of people throughout the station. Using a tilt down and then pan to right, the camera captures this and also the movement of passengers. Although the pan conitnues to a walkway that does not have any narrative information, it creates some space and break, giving the opportunity to cut to another clip. The camera also follows natural light and shadows, showing the small moment of beauty that may happen throught mundane spaces in the station such as the escalator. Using the physical location such as the handrail to glide the camera allows for a smooth panning shot of the moving trains at the platforms. Framing and compistion of dynamic lines of the architecture also help to suggest movement and direction. Cutting to a close up of people looking and the to the architecture shows their interaction and apprecitaion of their surroundings. Moving the camera around the corner provides a more realistic “3D” feel fo the space rather. Having the camera in the lift make it feel as if the camera or you are participating and actually circulating the station. Similar actions grrouped to each opther from subnarratvies within the film. Using the horizontal movement of the train as a signal to cut between subnarratives.
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BAUTA 2018
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Using the dark tecture of a tree bark, the cinematographer uses a fade in trasition to reveal the location of the viewer amongst the trees. The use of close ups hone in on the tactile aspects of the spaces. By passing through thresholds like between the trees and doorways, we feel as if we are traversing the space as if we were really experiencing architecture as we would normally. The filmaker takes us, the audience, for a walk using a slow and steady pace for the camera movement to showcase Norway’s modernist architecture. The movement of the camera accentuates mass and its edges especially when we move around them. Similar to the fade in, the filmaker utilizes darkness to cut to the next scene such as cutting from the darkeness of the room to the basement or the darkeness that awaits as the train departs a tunnel into the next shot. Other methods include jump shots before and after a closed threshold
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ECOS 2018
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Using dancers and their bodies in space, the filmaker and choreographer depicts the interaction of light and space in the house, creating a physical adaptation of the “energy rivers� within the house. By using match on action and careful composition, a flow of movment is established throughout the short film. The static-dynamic-static movment guide the viewer from start to finish using various human scales to distinguish emotions in different parts of the house. The framing in the short film is amazing, the frame in a frame and framing with physical and non-physical elements such as light and flora helo divide the composition and give various points of interest for our eyes to gaze without each element competing for our attention on the screen.
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SPECIFIC ATMOSPHERE 2013/2014
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Specific Atmosphere #2 heavily utilizes on contrast of lightness and darkness both for visual interest as well as for compositional reasons. Using the ISO to expose the exterior correctly makes the foreground subjects underexposed and therefore appear as mere silhouettes in the shot. This is used in two ways, one where the walls, floors and ceilings become dark framing tools for a subject or one where subjecs such as people are darkened to focus on their actions rather than unnecessary details.
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HYPERTUBE 2014
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Through calistenics, the filmaker showcase the use of the Hypertube. a new public space in Madrird used as a fitness space. By using slowmotion and change in music cues, the video accentuates the unusual movments of the users in the equally unsual space. The placement and poses of the individuals bodies in space through slow motion captures the shear control they have over their bodies and their envrioment. The most intersetin shot in my opinion would have to be where the camera shows the man as if from the top view walking up the stairs but later revelaing he has been suspending himself in a handstand, perpendicular to the view we thought we were seeing,
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THE FLYING GARDENERS 2015
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Close up shot of people’s eyes and their line of sight influence us as viewers to look in the same direction or infer a subject of significance is will be shown in the next shot. In the beginning the gardeners are shown tilting their head up to look at something, and we later learn they are looking at Vertical Forest for which they will be carrying out their work for the day, One interesting cut was when the gardener was using sunglasses and we have no idea where his eyes are focsuing and then cutting to an extreme close up of the creatures living within the vertical forest.
These shots are interesting as they establish the typical view that we see as inhabitants of buildings of the gardeners if were to see them. The closed curtain in the first shot shows only the shadow of the gardener as if working in the background and depicted as a mysterious bring. The next shots showing the gardeners repelling down has really good composition, fitting the subject within the negative space of the frame.
These shots use the edges of the building to create dynamic lines across the shot to draw your attention to the subject or the vertical garden. The filmaker also makes use of the neighboring building’s windows to reflect the vertical garden
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PHENOMENA 2012
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The dancers recreate the lives of the past inhabitants through dance, emphasing the body moving through space and the relationship between a memroy and the consturcted space where the memory takes place.
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Continuity in movement from left to right. There were parts that were somewhat creepy to me especailly when the dancers appear out of nowhere in frame. There were two instances where the shot is fixed and seems to focus on an object and suddenly the dancer will enter the frame. The dancers also appear out of cous in the background as if they are lurking. The final sequence is interesting as the woman walks in an out of frame with the door clearly visible throughout and the miming of bringing a drink plays well with the non-saturated editing and color palette that focus on neutral tones and light and shadows with the exception of the bright red dress which pops and gives contrast to some shots, calling our attention to that specific dancer.
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AFFAIRS IN BLUE 2013
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The actor showcases the various ways in which the architect envisions the refurbished space to be used. Through the actor’s position and action in each shot, the filmaker is able to tell a story using human scale in each shot. He establishes the main areas of the project uninhabited and then the character appears withb each shot doing a different activity. Using props such as the inflatable pool, chairs and umbrells in the color blue really reflects the unique Klein’blue translucent, a feature fo the froemr platform hall of the abndoned Benalua Railway Station, where the shadows that bathe the floor are all in blue. In the final shots the actor literally is engulfed in blue when he pours blue paint all over himself from head to toe.
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CASA CATTANEO A CERNOBBIO 2013
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Establishing shot shows the general area (town) where the short film will take Getting closer yet again, place. The camera then gets closer and by cutting the neighbouring buildings the camera reveals the fromt he shot while centering the main building, we know what to focus on. building’s address and the year it was opened.
For continuity, the camera focuses on left to right movement when the doors and windows are being opened. The detailed close up of the door rails are also in the direction so that we may easily combine them together.
The shot shows close up details of the door knob and more important shows the interaction of people with the architecture around them. For the shot, the door knob is pre-focused on the camera so that when the door is closed, the knob is within the shallow depth of field.
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03 READINGS & VIDEO ESSAYS
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THE ARCHITECTURE OF THE SCREEN APPLYING FILM TO ARCHITECTURE GRAHAM CAIRNS Video installation is a hybrid spatial and cinematic phenomenon that creates “filmic spaces” mediated by the screen between represented and inhabited space. Installations give the videos a more physical quality acting as a “constructor of space”. The creation of space thorugh film challenges our traditional engagement with architecture and our reading of the real and the virtual.
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“Defamiliarisation of space through cinematic fragmentation�. Stylistic choices such as camera angle, movement, composition, framing, deepth of field and illumination are used to challenge the usual visual understanding of architecture blurring the difference between physical space and projected image blurs.
Physical experience of SPACE and the sensorial perception of IMAGE
Physical experience of IMAGE and the sensorial perception of SPACE
The two examples show how space and image interelate within a video installation. By alterating either space or image, the perception add experience of the other is affected. In the first, the audience is in a fixed space but the pojected images afects the fixed spcae by creating optical illusions on the wall or canvas that makes us subconsciously perceive movement or something that is not realsic. In the second, the image is fixed but the placement of the image along to each other affects the experienc fthe imag itself. Juxtapositon of contrasting images or the strategic position/stacking of them in 3D space makes the experienc of them different as opssoped to viewing them plainly on a flat cavas.
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CINEMATOGRAPHIC ARCHITECTURE: EXERCISES IN THEORY AND PRACTICE DIALOGUE BETWEEN FILM AND ARCHITECTURE
Cinema as a reflection and commentary on architecture and the city Cinema as a testing ground for innovative architectural visions Cinema as a field in which different methods of practice can be applied to the realisations of architectural projects
CINEMA AS A REFLECTION AND COMMENTARY ON ARCHITECTURE AND THE CITY
Blade Runner The representation of cities are an architectural projection/prediction of the future of architecure. Each sci-fi depiction of our future becomes a point of reference for a period of time and it’s prediction. Many sci-fi films even film in real buildings that today we still experience as ahead of their time such as Frank Lloyd Wright’s Ennis house in Blade Runner and more recently in the series Westworld. Altered Carbon
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CINEMA AS A TESTING GROUND FOR INNOVATIVE ARCHITECTURAL VISIONS
Christopher Nolan Inception
Ken Adam Moonraker (James Bond)
Realising architectural visions that would have been inmpossible to test in the real world of architectural practice. The cinematic mindset provides an alternative lens for which the designer’s praxis may carry out explorational concepts.
CINEMA AS A FIELD IN WHICH DIFFERENT METHODS OF PRACTICE CAN BE APPLIED TO THE REALISATIONS OF ARCHITECTURAL PROJECTS
Manipulation of the representation of architecture where sets have a symbolic content with more than just a physical role to play. Through distorted and skewed proportions and noframe of reference for vanishing points in the persepctive, the set in The Cabinet of Doctor Caligari plays this to elicit a uneasy mood, one that confuses your sense of direction and your ability to predict the upcoming evensts of the flim. Another important point here is in the direction of where the characters move throughout the space that define this feeling of uncertainty within the scene. The Cabinet of Doctor Caligari
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“The narrative mode of cinema is paralleled with architectural/spatial narration of architectural proposals” - Lorcan O’Herily Architectural Association, London
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CINEMATOGRAPHIC SPACE
Physical Space “What is filmed”
Cinematographic Space Cinematographic Construction
physical environment real places studio sets
“Way it is filmed” potentially malleable spatial perception
(i) aesthetic factors - design, selection and organization of illumination and the set (ii) compositional and choreographic factors - compositional arrangement of props (iii) filming style - camera movement an22 d editing process
FROM FILM TO ARCHITECTURE: STRATEGIES FOR TRANSFERENCE
1. Strategy of direct incorporation
2. Strategy of analogy
3. Conceptual strategy of transference
1. Lighting effects and floor patterns to direct movement are examples of direct incorporation. Framing of views with architectural elements. 2. Creating architectural effects with cinematic techniques such as camera movement or editing techniques such as the fade. Examples include use of transclucent glass or change in size of entrance to lobby mimicking camera changes such as from close up to long shot. 3. To adopt a film style (typically of a filmaker/cinematographer) to the overall architectural design.
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DESIGN WORKSHOP Filming architecture led to attempts to counter the absence in narravtive by using tilted frames and mulitple viewpoints, unusual camera nalges to distort usual perspective of use of unusual lighting effects. Filming styles such as fragmentary, static or continous and fluid are also used to represent certain characteristics of space. Continuous filming tends to follow the usual routes taken by people in a building such as corridors.Fragmentary filimng of discontinuity focused on “dynamic” aspects like stairs. Static filiming focused on formal features and actions that are well framed.Fliming at interconnection spaces such as corridows highlights the long and continuous movement of people to and from the camera however those who traversed accross the camera from left to right or vice versa where in and out of the frame rapidly. As architects, this “cinematic” observation may lend itself as a new means of recording and considering spatial qualities.
Fragmentary/Dynamic
Continuous/Linear
Stage 1 Analysis and storyboard of a film Stage 2 Filiming the site Stage 3 Storyboard set in the site Stage 4 Storyboard related to a typical event that would occur in the design project Stage 5 Traditional design incorporating concept and visual effects from film studies
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BERNARD TSCHUMI The Manhattan Transcripts, 1981
Space
Movement
Events
“The Transcripts are about a set of disjunctions among use, form, and social values. The non-coincidence between meaning and being, movement and space, man and object is the starting condition of the work.�
By looking at space, movement and events as separate entities, we can then explore and develop new relatives to each of them. The conventional components of architecture are broken down and we can try to piece them together in new and meaningful ways
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04 CAMERA & EDITING
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CAMERA LENS Different lenses offer varying focal lengths and view angles
ISO Measures the sensitivity of the image sensor
APERTURE Determines the size of the opening in the lens that allows light in to the censor
NORMAL
WIDE 5mm
45mm
ISO
f / 1.4
TELEPHOTO
SENSITIVITY
f / 2.8
∞mm
50mm
f / 5.6
GRAIN / NOISE
f / 11
SHALLOW
DEEP
DEPTH DEPTH OF FIELD The distance between the nearest and farthest object that are in focus in a shot
GIMBAL Uses 3 axis stabilization to keep the camera still during movement shots
f / 22
Roll Axis
Tilt Axis
Pan Axis
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FRAMING & COMPOSITION MISE EN SCÈNE - The arrangement of scenery and props on the set of a film MISE EN CADRE - All that is included in the frame of a shot
RULE OF THIRDS
SCALE
CLOSE UP
MEDIUM SHOT
LONG SHOT
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CAMERA TECHNIQUES ARC SHOT - The 3D movment shows 3D space well as the camera moves in space just as we the observer do . Use of voids, masses, opening, edged, transitional space and protrusions to emphasize space. CONTINUOUS SHOT - Good at showcasing architecture as it mimics how we observe and experience architecture daily
EDITING TECHNIQUES CONTINUITY EDITING MATCH CUT Graphical Match Cut (Static) - A visual element is carried over from one shot to the next Match on Action (Movement/Dynamic) - The movement of a character or object is carried over from opne shot to the next Sound Bridge or L-Cut (Mute/muffle/source direction) - Carries over a sound element from one shot to the next J-Cut is when audio from next shot begin early before it is revealed OTHERS BRIDGING SHOT Time Lapse Shadows CUT AWAY Cutting to a insert shot and back CROSS CUT Cutting back and forth different locations e.g during a phone call or showing two things happening concurrently JUMP CUT To show the passing of time being skipped SMASH CUT Sudden cut to an action e.g waking up from a nightmare TRANSITIONS FADE IN / FADE OUT Fade to black and fade to shot DISSOLVE Blend one shot into another IRIS Closing an aperture to black WIPE Wiping accross the screen to reveal the next shot INVISIBLE CUT Cuts are hidden in blackness like doorways opr whip pans to appear like a continuous shot
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SERGEI EISENSTEIN & MONTAGE METHODS OF MONTAGE 1. METRIC - Cutting according to exact measurement; irregardless of content - Creates a sense of chaos or ratcheting tension build up while keeping the individual clip still running in sequence 2. RHYTHMIC - Cutting according to the content of the shots; continuity editing 3. TONAL -Cutting according to the emotional “tone” of the piece; sharing visual or aural tones 4. OVERTONAL - Cutting according to the various “tones” and “overtones” of the shots 5. INTERLLECTUAL - Cutting according to the shot’s relationship to an intellectual concept
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180 DEGREE RULE
1. FOLLOWING THE RULE ESTABLISH ORIENTATION & SCREEN DIRECTION 2. BREAKING THE RULE CREATES DISORIENTATION
3. BENDING THE RULE RESETTING THE LINE WITH NEUTRAL SHOT SHOT 1
SHOT 2 (NEUTRAL)
SHOT 3 OR
RESETTING THE LINE WITH CAMERA MOVEMENT
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05 FILM PROCESS
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EXERCISE 1 CINEMATIC SEQUENCE
ECU CU MS LS
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ECU CU MS LS
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EXERCISE 1 COMPOSITION
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CINEMATIC PLAN
1
2 3 4 5 9 7 8
6
FEDERATION SQUARE
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06 UNFILMED / UNBUILT / CINEMATIC RE-DESIGN SELECTIONS
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GHOST IN THE SHELL DIR: MAMORU OSHII : 1995
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Based on the Japanese cyberpunk science fiction manga, the animated film of the same name takes inspirationf from the cityscape of Hong Kong although it is set in the Niihama Prefecture, also known as New Port City in Niihama, Japan.
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The heterotopia depicted in the anime highlights both old and new, reflecting existing cultures and new cultures in a multinational city such as Hong Kong and challenges what the indivudual identity is. The result is a synthesis, and in the case of the animated movie this is shown between the blending of man and machine. In the shots, the animators used multiple layering techniques to get the neon lights to pop and come to life by using light, oftenm times, overexposed to draw our attention.
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HIGH RISE DIR: BEN WHEATLEY : 2019
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High Rise takes a look at a dystopain alternate reality set in the 70s. At its heart, the film delves into the harsh environemnt that various social systems such as feudalism, corporatism, materialism and authoritarianism to name a few, affect the lives of the inhabitants of a brutalist-inspired apartment building. From working class to upper class, the building is inclusive of every ammenity such as shopping and schools so thast no one needs to leave unless they have work outisde of the building.
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De
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Layering space in a shot, close, medium and long in Laing’s Apartment
When Dr. Robert Laing (Tom Hiddleston), first arrives in the luxury tower block, he is given a manual title “Welcome to your new home” which instructs him how to operate things around his house and list the amenities avaiable to him in the building. The architect of the project of five buildings, arranged like an open palm in plan, lives on the uppermost floor with have the area taken up by a roof garden where he can overlook all the terraces below. The buidlign itself starts to skew and almost spill over itself signifying the massive class disparity.
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As Laing descends into madness, the color palette in the movie shifts to balck and red. His entire apartment is painted grey to reflect they sky and his mental state and those of the agoraphobic residents in the tower.
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CINEMATIC PLAN
DR. ROBERT LAING’S APARTMENT LEVEL 25
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OBLIVION DIR: JOSEPH KOSINSKI : 2013
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Stahl House
Sky Tower Set Oblivion is set in a post apocalyptic Earth where an alien artificial intelligence has taken over and used human clones to reap the Earth’s finite resources. The Sky Tower featured in the movie was inspired by the Stahl House otherwise known as Case Study No. 22.
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The filming of the shots int he house are particularly interesting as they are filmed in a real set and instead of a green or blue screen used for the exterior, they projected recording of the sky from sunrise to sunset from a vantage point above a volcano in Hawaii. The choice of using the projection meant that no green or blue reflections would have to be edited out from the shots and because the projections reflect light themselves, the brightness and tones of the sky flood the scene and naturally lit the set and actors during the shoot. Another added bonus is that the actors felt they were actually in the sky and could focus more easily. After finding out about this, I rememered a TV show I watched before that had people living in a small cube and that their environement was entire projected around them. Could this projection or VR be the way we live in the future if we are forced to live in smaller and smaller living spaces?
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BIOSHOCK DEV: 2K GAMES : 2007
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Bioshock takes place in the underwater city called Rapture. Set in the 60s, the design of the city is heavily influenced by Art Deco and the Rockefeller Center in New York City. Meant to be a utopia for an elite society based on the power of industry and the belief that man is above god, the society quickly collapses when a coup unravels.
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Unlike most games, Bioshock “teaches� you the environment whithout much use of clues or direct instructions to traverse the map. The game level design (a discipline of game development involving the creation of video game levels, stages or missions) in Bioshock focuses on a linear game design that lets the player intuitively discover how what they can do and how they can do it. Light direction and the use of architectural ornamentation from art deco is just some of the methods in which the developers use to guide the player throughout a level. The translation from a machine aesthetic into architecture focusing strongly on vertical lines, geometrical shapes and symettry give an inorganic quality to the spaces. Reinforcement and priming are also used to let players know what to expect by giving purpose as well as a certain level of constraint.
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07 UNFILMED / UNBUILT / CINEMATIC REDESIGN FINAL SELECTION
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CONTROL dev. REMEDY GAMES
: 2019
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CONTROL SYNOPSIS The game revolves around the clandestine Federal Bureau of Control (FBC), a secret U.S. government agency that contain and study paranormal activities that defy the laws of reality. The player control Jesse Faden, the Bureau’s new director, exploring the Oldest House and defeating the invading and corrupting entities known as the Hiss. Notes on game design for control: - Action-adventure game - Third-person perspective - Metroidvania format, large world map that can be explored in a nonlinear pace - No heads-up display, mission markers or any clutter, instead using careful observation to figure out where to go next. -Fluid environment where nearly any object can be used as part of the player-chartacter’s telekentic powers so the game world can be a weapon used by the player
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OLDEST HOUSE NEW YORK CITY Kubrick’ s balanced, symmetry and one point perspective influenced Control’s visual identity, selling the idea of ritual processions and ceremonial thresholds. Influenced the design of the Federal Bureau of Control, otherwise known as the Oldest House, a bizzare and brutalist monolith. Looked at churches and other places where ritual were common as the lightiong and design often used to draw attention ot specific points of interest. Carlo scarpa staircase and tadao ando lights Featureless skyscraper in New York City Government building has “sense of power, weight, strength and stability” Interior is space defying, constatnly shifting labyrinthian expanse of concrete and bureaucracy connected to various alternate dimensions, existing outside the ordinary laws of spacetime. Constant shift in its internal topography. The buildings shifts that occur are even more weird because we are used to concrete being set and non flexible but because of the hiss corruption, they change and morph. Opening paragraph of The Haunting of Hill House by Shirley Jackson, “No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katylids are supposed , by some, to dream. Hill House, not sane, stood by itself agaisnt its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors wer firm, and doors were sensibly shut; silence lay streadily against the wood and stone of Hill House, and whatever walked there, walked alone.” There is countless things we cannot control in life, For this reason its all the more important that we feel in control of where we live, If we dont feel at ease in our own bedroo, kitchen, bathroom, then where would we? We barely appreciate these things when they are normal. A l;iving room is just a a living room. A hallways is just a hallway. They provide comfort by being exactly what we expect them to be. Only when they change, when they go through the insidious mutations described in Control that we realise just how much trust we put in our houses.
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PRECEDENT STUDIES
VILLA RONCONI ROME
AT&T LONG LINES BUILDING NEW YORK CITY
BRUNEL UNIVERSITY GREATER LONDON
BOSTON CITY HALL MASSACHUSETTS
GEISEL LIBRARY LA JOLLA
TOMBA BRION TREVISO
06
10
WOTRUBA CHURCH VIENNA
SPOMENIK YUGOSLAVIA
01
02
ANDREWS BUILDING TORONTO
05
03
07
MET BREUER NEW YORK CITY
CASA DEL FASCIO COMO
04
08
09
11
ROYAL NATIONAL THEATRE LONDON
12
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PRECEDENT DRAWING Instagram:@columbiagsapp
The drawing use of a single color to show the activities at a quick glance and hones in on the viewer’s focus. The lineweigth and grey shadows are useful at differenciating zones and areas.
In this isometric mode, each area is explained very clearly
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READINGS
AN ARCHITECTURAL APPROACH TO LEVEL DESIGN CHRISTOPHER W. TOTTEN A game is defined as a system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcome. This definition reflect that of design, being the process by which a designer creates a context to be encountered by a participant, from which meaning emerges. Unlike architecture however, game design is free to utilize negative emotions can be said for film) instead of positive emotion or pure function driving the design of spaces.
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SPATIAL SIZE TYPES
In architecture, hallways and corridors are often spaced 1.5 to 2 meters apart but in game design, they are usually spaced so that two people walking past each other will defintely make contact with each other with barely enough space from shoulder to shoulder, forcing conflict in action/horror genres. It feels like the threat to the player is more significant when trying to get past. Spatially, it gives of a claustrophobic atmosphere as well.
Narrow Space
Narrow space is a spatial condition where the indivdiual feels confined and has their movments constrained. Chokeholds can create a bottleneck effect that create spaces for ambush or “threading the needle” in racing games.
Intimate Space
These are “metric appropriate” spaces that are spaced within the boundaries of a character’s abilites, particularly in regard to their mobility.
Prospect Space
Large open spaces where the player cannot utilise their abilities to take spatial advantage and must therefore deal with obstacles head on. These places cause agoraphobis, oppiste ot that of narrow spaces. It can incite fear by causing players to feel vulnerable
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THREE GOALS
Basic purpose of level design is to interpret game rules and translates them into a construct (level)that best facilitates play. Rules such as “It is strategically advantageous to have a high position in a game level�
Adjustment of behavior
Skill gates: teaching players by restricting their progress unless they learn an action to pass. By altering the environment, you can channel occupant activity.
Transmission of meaning
Designers can make game levels carry narrative, turning them into rhetoric. Whilst art is a from of visual rhetoric, games and interactive media ca make statements through procedural rhetoric.
Augmentation of space
User interfaces, patterns in level design color-coding and formal or spatial symbols inform players what to expect. Building formal language can assist in the augmentation of behavior or transmission of meaning.
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CAMERA PLACEMENT The field of view in games offer players differetn advantages as well as drawback depending on their goals. While thrid person views may allow for better mobility, it sacrificies first person aiming at objects. In first person, situational awareness is limited and movements such as jumping prove to be more difficult as you cannot see the characters feet. Over the shoulder camera angels are used to offest these issues to seom extent but still fall short of pure first and thrid person angles.Camera AI is also notoriously difficult to code well, so cameras that “want to kill players� are a common problem in third-person games.
First Person Perspective
Third Person Perspective
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TEACHING THEORIES
Operant Conditioning
B.F. Skinner based on Pavlov’s experimenrs to change voluntary actions of subjects via positive and negative reinforcements including punishments.
Montessori Method
By learning basic actions, combinations can be made to solve more complex obstacles later on. It gives the player a toolbox for them to decide for themselves which solutions they deem to best solve an issue.
Constructivism
Structuring challenges for feedback where players are instigated to master gameplay challenges over and over. Almost a hybrid of the operant conditioning and montessori method is used.
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RHYTHM IN ENVIRONMENTAL ART AND CINEMATOGRAPHY
Wide
Narrow
Archietctureal deatils like floor tile spacing can affect user entrainment. People will slow down their pace and walking strides to slow down for smaller fllor tiles and move faster by opening up their stride and pace when floor tiles are wider. The spacing of rhythmic elements in architecture can affect how users move through a space. In department store and mall design, for example, floor tiles are commonly smaller near expensive items. This makes shoppers slow down as their carts begin clicking on tiles faster, creating the feeling that they are moving too fast. 24 Floor tiles between stores in shopping malls are often very large, so users will entrain their steps with the wider pattern. When shoppers reach the front of a store, the tiles at the entrance become smaller, slowing the pace of the walker as he or she entrains to the new shorter pattern (Figure 10.7). The same can be done in gamespace: wider rhythmic architectural elements in prospect spaces, such as buildings in urban driving games or shooters, pull users through large circulation paths, and when players encounter areas where they are immersed in a rhythm of smaller or more intimate elements, they tend to stop and explore the space before moving on.
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PSYCHOLOGICAL CONCEPTS
Same Same
Unconscious
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Individual
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Objective
Subjective
Physical World
Individual
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Synchronicity is a concept by Carl Jung that explains the meaningful experience of coincidence of event. It hypothesises that the subconscious world can bleed into reality and take material form. In control the material form is taken in the form of the astral plane. In the conceptual design I hope to explore these two planes and how they interact with one another especially while looking at brutalist architecture for form and massing.
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SEQUENTIAL THEORIES IN ARCHITECTURE AND CINEMA Film
Sequence A particular order in which related events, movements, or things follow each other. “the content of the program should follow a particular order” Architecture deals with sequences by assembling the intended experience of spaces. Sequences are experienced by the user in architecture and by the audience in cinema Kuleshov Effect
Scene
Experience Movement
Sequence
Sequence
Scene
Scene
Sequence
Scenes Sequence
Physical Space
Editing Artificial Landscape
Intensity Movement
Sequence
Space
Editing
Space Time Period
Motif
Motif
Setting
Setting Abstract
Brief
Narrative
ARCHITECTURE
CINEMA
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CONTROL SIDE MISSION Narrative In control there are objects known as Altered Items and Objects of Power. These items could be based on mokumokuren yokai or abandoned items. These objects are obtained and ritually cleansed by Faden to bind them back to the astral plane but also gives the director new abilities. The side mission will be to pursue an Object of Power, a video camera. At first your point of view is an over the shoulder shot as it is throughout the entire game. However,after spotting the camera, the view cahnges and you realize you are looking at yoursekf throught the lens of the camera. Your movements are now in second person view. In order to capture the camera, you have to pursue it and get accustomed to the odd way of maneuvering throughout the Astral Plane level. Using audio cues from the character, the player will gain back control once they have succesfully reach the end goal room and cleanses the obejct of power.
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NINTENDO POWER METHOD Form follows function = Form follows gameplay
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Just as spatial contrast is imporatnt for building meaningful experiences, pacing in games contrast both excitement and quiter periods such as puzzle soving to keep game play interesting. We can use the Nintendo Power method by taking a macro-scaled look at the overall level before designing the micro-scaled obstacles and districuting highlighted moments of gameplay to manage pacing.
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How impactful an experience of a space can be is often in relation to the spatial composition of the spaces that precede it. If for example you are to show case a large space, leading up to it a small space should be used in the procession-like approac so that the experience of the new space seems even larger. Sometimes a partial view of an area and the journey makes for a rewarding experience for a person when they reach the destination.
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SECTION
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PERSPECTIVE VIEWS
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THE ASTRAL PLANE
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PRECEDENT DRAWINGS
Architecture From a Dream - Douglas Ramos
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Even though the planes are 2 dimensional, the tonal control and use of light and shadows bring about perception of depth and thre dimensionality in the drawing. By setting a black point, there is a huge dynamic range. We perceive the blackest colors as the deepest or under shade meaing there is either something above it or that it is deep in the page and therefore light cannot permeate entirely.
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RESIDENT EVIL
Camera angles and Perception
Fixed camera angles gave game developers total control of what you saw such as composition of elements in the scene with the unique advantage to highlight threats or items. The static views allow you to absorb details that you would have otherwise overlooked if the camera is always looking. High camera angles made it seems as if vertical shafts go on forever, emphasizing the depth. Low camera angles exaggerate the height of ceilings and making you small and to appreciate the shear size of a space.
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The fact that the view changes autonomously allows for sudden changes in view and to scare the player compared to if they had control of the camera especially moving around corners. The camera looking at you makes you feel like you are being watched.
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PERCEPTION OF SPACE VISUAL ANGLES
= 22mm Focal Length
Telephoto
Normal
Wide angle
When we perceive architecture, we use our sense of sight. Our “tool� to see is our eyes that have a fixed focal length of 22mm. The only other way we can perceive spaces other that directly through out eyes is through media which has a range of focal lengths especially in photography. Real estate agents use wide angle cameras to make room appear larger than they really are. Can we then explore how in physical material form can we manipulate the feeling of space? In architectural history, architects have used forced perspective to create the illusion of depths through tapering and spacing of architectural elements.
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PERCEPTION OF SPACE SCALE
Whole
Partial
Partial/Whole
Our perception of space also depends on the relative size to our own human scale. When a small object is in front of us, we can appreciate the intricate details of the object. We can see the object in its entirety and are able to move it and manipulate the views so that we can understand the object quite easily. In the medium scale, we can only see the space partially, absorbing information in sections at a time to piece together a unified knowledge or understanding of the space. In the last scale, we can either observe large objects from afar or close up. When we view it from far, we can only understand the basic from and shape it takes and it is difficult to manipulate the views of it. When we are closer, much like the medium scale, we can only observe parts of the whole. We rely more on color and shading to differentiate the parts of the from rather than complex linear geometries.
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PERCEPTION OF SPACE SPATIAL TYPES/TYPOLOGIES
Symmetry
Scale
Mass
Permeation
Spatial effects such as symmetry add to our hierarchical understanding of spaces and often gives a sense of monumentality foll wing a single axis. Large scales are more effective if we are able to perceive the vastness of the space without any interruptions in the space. We have to view the outlines of the spaces continuously and without breakage to grasp its size. The slower the approach to a large object, the longer we perceive it. We understand the general concept of gravity and that loads have to be transferred down to the ground so when object that seem heavy are suspended off the ground their mass feels greater or “heavier� to us especially if elevated by a smaller load bearing mass. Permeability affects us as it creates voids and pockets of spaces that are not clearly defined by boundaries that we can establish and perceive.
Linear
Breakout
Progression
Centric
The arrangement of spaces also affect our spatial perception and in fact shape our movement through the space. By using narrow and linear spaces, there is a clear directionality to it and we may feel either trapped or safe when moving along them. Adding to approaching and arriving at large scale spaces, the progression of spaces with those preceding it is very important as well. In the centric arrangement, we may feel vulnerable although it opens up possibilities of movement and perceived freedom to traverse the space.
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PERCEPTION OF SPACE OUTSIDE-IN - ANNETT ZINSMEISTER
In the art installation, Zinsmeister explores our perception by bringing in facades to interior spaces. At first she samples facades on the a single surface and then finally to all the surfuces in the room so that they blend together and the floors, ceiling and walls are no longer distinguishible. The confrontation of the facades in interior spaces are unique and offer a new perceptual experience, The spectator is forced to see the endless repition and patterns.
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PERCEPTION OF SPACE FORCED PERSPECTIVE
Wall Size
Depth Perception
Normal
Condensed
Elongated
Wall Skew
Normal
Z-axis
Y-axis
Combinations
Elongated to Condensed
Condensed to Elongated
The arrangement of spaces also affect our spatial perception and in fact shape our movement through the space. By using narrow and linear spaces, there is a clear directionality to it and we may feel either trapped or safe when moving along them. Adding to approaching and arriving at large scale spaces, the progression of spaces with those preceding it is very important as well. In the centric arrangement, we may feel vulnerable although it opens up possibilities of movement and perceived freedom to traverse the space.
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THE ASTRAL PLANE
ASTRAL PLANE PLAN
ASTRAL PLANE SECTION
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CONTROL: ASTRAL PLANE
SEMESTER 1 2020 MID SEMESTER PRESENTATION
ISAAC YONG 778069
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NARRATIVE
After Dylan slips into a coma from his possesed state, Jesse finds a say to close the portal and shut out the hiss
01 Beginning/Revelation
Jesse confronts the leader of the hiss invasion and confronts the creature in a battle
03 Boss Fight
Expedition 02
Jesse explores deep into the oldest house to search for the origin of where the hiss invaded. Along the way she gets flashes of Dylan’s memory of trying to the close the portal
Jesse’s brother awakes from his coma and Jesse decides to remain as the Director of the Federal Bureau of Control
05 Goal/End
Closing Portal 04
After the battle she has to figure out how to close the portal and hopes her brother awakes from his coma
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VISUAL “CONE”
KISHŌTENKETSU きしょうてんけつ
Development
Twist Introduction
Conclusion
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spawn area corridor platforming first boss arena stairs maze bridge final boss arena
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Project Review Issues 1 2
Each space needs more detail and consideration
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Not using creative license to push architecture such as gravity and movement
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Have a better progression towards a climax
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Balance introspection and urgency
Architectural elements such as the stairs should have a purpose
Future direction 1
Explore PT, going around in loops while still descending
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Link spaces better so that they are coherent with one another
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Play with architectural elements and add movement to them so they may be elements of danger. Stairs may start normally and the pull apart
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Restricting player movement, slowing down their movement speed like MGS4 to exaggerate difficulty. Segmenting the corridors make them feel like they are longer
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PT (PLAYABLE TEASER) Silent Hill
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Puzzle Puzzle
End/Loop
Puzzle Bathroom
Puzzle
Looping
Corridor Plan Start
The PT game-play utilizes a single turn in a corridor that loops back on its self to make the player feel that they are stuck in the house for eternity while being spooked by various entities. By making players solve puzzles that require focus and to “zoom� their view to look at various puzzle pieces, the game makes perfect set ups for jump scares. In additional to the never ending corridor, doors in the map are often locked and inaccesible making player more curious as well as frustrated. The camera long camera angle accentuates the feleling of claustrophobia and bathophobia, making the players feel anxious and feel a sense of hurry to get out of the house. Due to the players position in the games, their backs are always exposeed, making them feel vulneratble and spied upon.
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This mind-bending game is based on the works of M.C. Escher. The goal of the game is to progress through the stages by moving boxes onto plates on the fllor that are weight sensitive. The diffculty like in the labyrinth and non-euclidean geometries created in the game space. There is not right sense of direction and you can move through doors that place you in a different part of the map and in a different orientation completely. Although it is disorientating, players must use the gamespace and physical mechanics to their advantage as best as they can to retreive and place the boxes.
FRAGMENTS OF EUCLID M.C. ESCHER
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08 CONTROL : DELIRIUM GAME LEVEL DESIGN
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HOUSE FOR EUCLID, 1983 RAIMUND ABRAHAM’S DREAM “It was the precision of my memory which enabled me to demystify the imaginary quality of the dream: surreal and real became interchangeable metaphors.” -R. A. After looking at a series of hand drawings from Austrian acrhitect Raimund Abraham, I had imagnined my slef in a space that was falling apart, where architectural elemets grew and shrunk and move around, clashing into one another.
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THE ARRIVAL SCENE 1 Arrival / Unravel: Jesse arrives in a room that starts to unravel and reveal the corruption of the Department of Research in the Oldest House. In this space, the order of architecture is evolving subtly in the foreground and as you looking further ahead, the distortion of the space becomes more apparent. 0
PARA-RESEARCH SCENE 3 Discovery: During the course of Jesse’s journey wihitn the unconscious realm, she enetrs the research facility that has morphed in search for information on how to defeat the final wave of the hiss and how to seal the portal they have created.
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THE VALLEY SCENE 2 Fragmentation: Along with the fragmentation of the physical space, Jesse’s conscious mind slowly gets distorted and has hallucinations, limiting her abilities as she traverses the space.
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THE VALLEY SCENE 2 Fragmentation: Along with the fragmentation of the physical space, Jesse’s conscious mind slowly gets distorted and has hallucinations, limiting her abilities as she traverses the space.
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THE PORTAL SCENE 4 End Game: At the portal, Jesse confronts the clash between the physical manifestations of the conscious and subconscious. She battles the final boss in order to close the portal to the world of the Hiss.
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GAME LEVEL DESIGN
RETURN
DE-ESCALATION
CONFLICT / CONFRONTATION
CONTROL : DELIRIUM
CONTROL : DELIRIUM GAME LEVEL DESIGN
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THE AR JESSE’S SUBCONS
RRIVAL SCIOUS UNRAVELS
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THE DISC IN SEARCH FOR
COVERY R HER BROTHER
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THE VA TRACKING DO
ALLEY OWN THE HISS
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THE AN JESSE SEARCHE
NSWER ES FOR THE KEY
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THE PO DEFEATING
ORTAL G THE HISS
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SCENE BREAKDOWN ANALYSIS
In this scene, I wanted to have the protagonist take the center of the frame and have the viewer be able to view the environment head on. By using a darkened foreground and faded background there is a larger perceived depth compared to the first rendition render. After being introduced to rim lighting, I could make the ambient light reflect on the character to further anchor the character in the space.
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SCENE BREAKDOWN ANALYSIS
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For variation, I had this scene facing the protagonist while creating visual information that the viewer can see but not the character. I think this was an interesting angle as I could show that the character is going to encounter and ambush while being per-occupied with the character we see in the foreground.
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SCENE BREAKDOWN ANALYSIS
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The valley uses the fragmented walls to draw attention to the character floating at the end as well to highlight the position of the player. By adding floating rubble below, I aim to convince the player of the dangers that lie below if the character falls if pushed by the breathing walls.
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SCENE BREAKDOWN ANALYSIS
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By using a camera angle that is low and pointing upwards, I wanted to capture the sense of verticality and height of the space. By using a wider lens, the floating rooms are distorted even more to exagerate the convergence to the center of the screen to focus on the character in the middle.
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SCENE BREAKDOWN ANALYSIS
Aligning the telekenitically-controlled rubble, the character, enemy and the clashing pyramid shape, I wanted create a more dynamic composition draws the viewers eyes diagonally accross the screen. By adding grit details such as cracks and debris, it makes the image more convincing.
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FINAL THOUGHTS Although the we had to change the course syllabus to accommodate the quarantine period, I believe that through the observation and research into films and games, it gave me a fresh look into how we can experience architecture. Just as film and games occur in a series of scenes and chapters, we experience architecture by traversing its many oraganized sets of spaces that have been set out in physical space. Following camera movements, composition and analyzing the layers and depths of various scenes, it allowed me to appreciate set design and how architecture can alter how we perceive different spaces. Thinking critically about film and the emotions that it attempts to evoke helps designers to accentuate the atmosphere of a space that simply cannot be easily elicited from traditional architecture representation means such as technical sections and plans. The ambience and point of view of the camera or viewer creates a narrative aspect of architecture that translates to our understanding of how imagine being in the space to be. With the final project being an unbuilt/unfilmed space, I had the opportunity to explore architecture in a sandbox environment where functionality may take less of a priority and instead focus more on the player and influence their gameplay experience even if it may seem illogical and delirious, the intention of the spaces that I have created. By the end of the semester, I have slowly learned to break out of my comfort zone and have experimented with new softwares and technology, had the chance to operate a full film camera set up to learn about filmaking and to explore new means of architectural representation and rendering. My interest for cinematic architecture is still piqued, and I believe I will continue to watch films in an analytical manner, considering architectural interventions that elevate the experience of spaces. Lastly, I would like to thank Hamid for his help and guidance thorughout the course, his interest and passion for film and architecture is evident whenever he speaks with me.
SEMESTER 1 2020
STUDIO 35mm STUDIO LEADER : HAMID KHALILI
JOURNAL
ISAAC YONG 778069