Tuesday, 29 March 2011

Centrepoint Vista

The overall vista of London fromt he top of the newly extruded Centrepoint means that The Man now becomes aware that this phenomenon is not only something that he is experiencing. It is a concept of experiencing space which is city wide, if not worldwide. The towers are other versions of the cubicle spaces that are working away at delivering the various spaces required for all other users of each of those towers.


The Cubicles

To realise and place some form of rationale on the feasibility of these experiential spaces each user has access to a interactive booth. Within these booths they will be placed within a multimedia environment. The idea is that each wall of the cubicle will act as visual screens in order to simulate the space in which each user wishes to be within.

The key parameter in this process is that the user will essentially remain stationery and the booth will move around the user. If the user chooses to travel from one space to the next that space will be connected the current space and the user will travel between the two. This can occur continuously. Each time the user enters a new space, the new space is represented on the media screens.
The Metaphysical Cubicles

Opposed to the narrative based realisation of the cubicles that The Man finds himself in there is a parallel system in which the cubicles operates within.

As already mentioned there is the infrastructure in place which means the physical versions of these film set components can be transported and put in place for each user in time for them to physically walk and transist between one space and the next.


Each object that finds its way into the scenes and shots are carefully selected to maximise visual effect and also maximise costs for production. These two images are two shots that group together various moderist furniture. The choice of these was made on the premise that everything that the Case Study Houses stood for in terms of modern living greatly influenced furniture design and industrial design when it came to procuring the houses themselves.

Wednesday, 23 March 2011


These are a couple of renders from the film. Although, as previously planned, I intended on keeping the screenplay completely contained with in the 3D modeled environment, I felt that it was more appropriate for The Man to venture out into the outside world (to escape his escapism) that we ourselves are more familiar with. I chose to do this because I felt that with this idea of his synthesized space becoming so hyper real it was hard to decipher the difference between real and unreal and therefore by compositing the computer generated built elements back into real life camera footage it plays on this idea of the two versions of reality being completely hybridized into one experience for The Man.

Case Study House #2781342

The case study house has just been commissioned as a film. It focuses on The Man as the example user of this virtual living concept. The CSH itself will provide the back drop to the screenplay and this constructed set will form an integral part of the narrative structure.

This is an article i found of #2781342

.....this is actually the original....

It's been a while

Long time no blog....I have been busy with the old film production in preparation for next Monday's crit and it's now time for an update. So since the last post a few weeks ago the structure of the project has changed somewhat however, the overall concept has remained stable.

Tutorials and discussions have been leading me down a path that was to focus more on how the concepts of ideal living and modernity were practiced, most specifically in post war america and the case study houses. As the CSH scheme was an effort to deliver the ideal and homogenised living conditions strived for by the modern population it seem fitting that it should in some ways drive the development of my film. My character 'the man' lives in a highly synthesized and virtual environment which is produced through his desire to create ideal living conditions for himself. It occurs under synthetic parameters which simulate spatial arrangements to replicate the images that The Man holds in his head of how the ideal life should look like, based on his digestion of architectural representation seen and witnessed in various formats through out his life. This draws upon the representation of architecture as a means through which it can be designed and visualised. The CSHs were very much procured in this way and therefore made the viewing population understand the spaces as portrayed through the 2D images of magazine spreads and publications. This method of presenting architecture obviously leads to a framing of space as seen through the lens of a camera and in some ways the designer begins to only focus only on those components that lie infront of the camera.

The film itself now begins to pick up on the point of only designing what lies infront of the camera. This has been practiced in film making since the first matte paintings were produced by art directors in early film making. Such convincing 3D spatial representation tricks the eye of the viewer into believing that what they seen is actual real space in front of the camera, and they will never know otherwise as what the camera documents is permanently flattened into a 2D representational format.

I see the case study houses as a good platform to base this way of thinking upon as it seems that those houses were very much presented as a stage within which we could potentially act out our modern lives. Each graphic and representation of this modern life was carefully crafted and composed in the same way framing a shot in film making is.

The synthetic environment that I have crafted for The Man is one which aslo follows this kind of rigor as it maximises visual effect whilst also reducing what lies outside of the camera frame. It is almost as if the house he lives in is a complete set and the difference with this set is that it is more of a interactive set through which primitive and traditional film making techniques are employed to deliver a simulated environment which combines modern technology and mechanisation with the most simple and effective methods of representing space through film.