a classic adaptation on technology, society and architecture

 

Tools: 

3dsMax, Adobe After Effects, Blender, Voodoo Tracker, Premier Pro

Music:

Kevin Macleod- Supernatural Radio A, Der Klebber Sting

[process: I created Vintage Robot using 3dsmax and paid particular attention to his UVmapping to get him looking just right.  With the raw footage I had, I used Blender and Voodoo to get the tracking so as to be able to embed and blend him into the scenes.  The scripts created out of these were then brought into 3dsMax and where I was able to start animating Vintage Robot as how he would appear in the scenes.  Once I had different sets of his animation for different scenes, I was able to composit both his animations and the raw footage in After Effects.  Much time was spent in the compositing of the scenes as layers upon layers were necessary to be able to blend the 3D with the footage.  Colour matching, and several effects of the underlayers of the 3D were also needed to get his pixel edges blending with the footage so he wouldnt appear as though he's a layer placed on top of the raw footage.  A couple of scenes were not properly worked on with the limited time I had and these are quite obvious in their difference but the over-all film was meant to look choppy and editted in the state its in.  I also wouldve liked a classic voice announcement as how it would've sounded in the 50s]

PREMISE:

Architecture today are being designed to embody and retain data and where information can be processed intelligently by these new built forms.  In response to the theory of Machine in Architectural Thinking, technology today brings the impossible to a realised state to ensure we raise the bar of efficiency within the built environment.

In reference to an article of Crang M and Graham S, Sentient Cities..., here is a parody on embedding intelligence into buildings.  The film is made to look as though the footage was taken decades ago when technology and architecture were two very distinct areas and were rarely cross-bred.

An intelligence generator falls from the sky [as oftentimes, unexplained phenomenon generally are conceived in such a way and which this concept would've posed at that time] to land within the grounds of the university.  The generator 'zaps' the surrounding buildings with intelligence which then become alive and decide to join a larger city of intelligent buildings.  In the final scene the generator collapses and explodes as it is drained of intelligence which is its energy source.

In this segment, several layers in after effects were composited to achieve this look; Much time was also spent to achieve the colours to make the footage look aged.  The smoke/explosion colours still need much adjustmenst to blend it into the footage

here is another look at how a building is zapped.  again several layers with masking were composited to achieve this.  again much colour adjustment is needed especially when the windows glow with energy.

article:

Sentient cities : ambient intelligence and the politics of urban space.
Crang, M. and Graham, S. (2007) 'Sentient cities : ambient intelligence and the politics of urban space.', Information, communication & society., 10 (6). pp. 789-817.

article review:

Within An Interlude focuses on time, depth and gap.

Credits

Tools: 3dsMax, AfterEffects, Photoshop, and my reliable Blackberry
Music: Time - a Pink Floyd classic

Inspired by theories drawn from the Machine In Architectural Thinking and placed within the context of gap and depth, the pivot points in Hypertextual Picturesque and Systemic Delay, here's an interpretation of what one may experience in such journey that helps shape one's frame of mind.

Synopsis

Deriving inspiration from the medley of forms that create the backdrop of our existence, and the mechanisation of these forms that influence our movement and expression, this journey suggests a relief as one yields to the synthesis of the mechanics and the aesthetics one finds within this interlude; inevitably breaking the mold that defines a perceived repertoire of possibilities, thus generating an outcome of vast magnitude.

Narrative

One walks through a dark, gloomy time-forgotten tomb with foreboding background music. Increasing in tempo as the adventurer emerges from within and walks through the streets seeing more than there appears to be. The architectural forms and objects in the streets display a spectrum of colour.  The scenes display a strong sense of gap and depth and apparent foreground middleground and backgrounds with distinctive vanishing points. Finally, the adventurer descends returning to his natural course within the tombs.  The foreboding music returns and the tombs appear the same but the walls and floors of the tombs glow denoting a change in the adventurer's perception. He continues to walk through the familiar halls.  The story concludes as the adventurer unexpectedly glimpses at such an overwhelming sight.

MUSIC

i was considering a murcof composition but still leaning towards coldplay's yellow as it would complement my theme of synthesis within the context of depth, gap and time.

HYPERTEXTUAL PICTURESQUE + SYSTEMIC DELAY

Such insight one would discover in these articles that prompt one to recognise and appreciate the existence of that gap between observer and object, between conception and realisation.  Rather than trodding a well worn familiar path as one would gravitate towards these goals, there exists that moment, that time between time where the promise of the goal no longer remains paramount but acts only as the principal of that momentum.  Only through maintaining the integrity of that gap as alluded to in the theory of the Picturesque and the premise of systemic delay do we find relief from the conforming and restricting state that ultimately defines a realised object or goal.  So in this depth do we flourish and generate compounding possibilities and where we find the principal object or goal are morphing conjectures until caged as a realised object.  Then the magic ends.