Week 4 - Scene Transitions: Entrance Threshold.
- ynj4284
- Aug 6, 2022
- 6 min read
Updated: Oct 2, 2022
Weekly Learning Outcomes;
Research cinematic transitions and consider these in relation to spatial design.
Discuss and review surface design/façade design.
Develop surface design to incorporate an entrance threshold.
Draw inspiration from filmmaking editing techniques such as the cross face, jump cut.
Create a spatial model of one of the transitions from the site sequence.
Produce a model or series of models which explore transitions in the cinematic site sequence.
Design the entrance threshold and develop the façade design.
Week 1 Session 1.
Context Talk.
what's a façade?
how do we arrive at our scheme?
How does my elevation draw people into my spatial design?
Light is always an attractor (the red light which pulls us through fort lane)
Surface patterns -spatial design as an animated field - we are anima to ng through various fields such as texture and color
dress up fort lane - a laneway which leads to an urban way of life
research into clouds
transitional state
I am creating a center for moving image. What does this mean to me and what communities do I want to include?
One On One Talk with Sue.
Begins with the heavy existing site but I am diffusing it and creating a softness through the projection of light and shadow and/or small movements - creating different forcefields which are moving through the space. There is a spectral quality to it - a solid box/container with an uncontainable interior within.
Petra Blaze
Architextiles
Anne Hamilton - textile designer who is now an installation artist
Projection of light and shadow - Christian Boltanski
Go back to the site and do a material study/palette of the site - create a high contrast with the existing materials within the site. (interference and contrast)
Creating small material events within the space.
These moments may remain as soft textiles (Architextiles) - picking up the atmospheric or environmental forces of the site, as textiles respond with quite dramatic effects even to these small forces.
Fort lane is a wind tunnel - play with it in some way. The movement of the textile and possibly reflective panels could scatter light around - drawing us through the space in some way.
Personal/ Previous experimentation on textures/surfaces.
I looked back on some miscellaneous pieces I had created for my portfolio previously which included some abstract drawings/collages along with some wax sculptures I made. I would like to do some more experimentation with melted wax, as well as the image transfer I did on Calico fabric using PVA glue and gel. I was also very intrigued with the delicacy and softness which can be created through the use of yarn in the case studies I did previously.
Definitely a lot more bolder and extreme than the delicate texture experiments I did last week using tulle and pearls. In terms of the relationship between the surface design, light and shadows created as a result of that - the experiments with tulle proved to be a lot more diverse.
Fort Lane Elevation.
More Site Research;
I recently read on NZ Herald that the downtown area near Fort Lane was named the "most dangerous spot for random street violence" by Metro .
"Vertical shafts are cut through the floors above the lane, introducing light into the space and a language of opaque glass and steel to complement the ‘found’ brickwork, timber truss, stone and dilapidated concrete of the original fabric."
The building plays an important role in bringing people together not just for its tenants but also for the public. It unites public and private sectors by encouraging engagement through the use of courtyards and internal circulation strategies. The building is designed to open up to its surroundings, not withdraw, with access at both the Queen Street and Fort Lane entrances.
"The retail spaces on Queen Street have long been tenanted to very high-end operators including Gucci and Michael Hill. The commercial space behind, in some places up to five storeys, were largely untenanted. The three buildings have long been joined and had evolved into a rabbit warren of spaces of varying levels with a central services shaft.".
"The building plays an important role in bringing people together not just for its tenants but also for the public. It unites public and private sectors by encouraging engagement through the use of courtyards and internal circulation strategies. The building is designed to open up to its surroundings, not withdraw, with access at both the Queen Street and Fort Lane entrances.".
https://architecturenow.co.nz/articles/the-imperial-buildings/
Projection Theaters and Bars in Korea;
In 2006, famous movie director Steven Spielberg outlined his idea on what movie theaters of the future could look like. “Some day in the not too distant future you’ll be able to go to a movie and the movie will be all around you. The movie will be over your head, it will be a 360 degrees around you, even be a little bit under you,” he said in an interview with Time magazine.
Hive Soju; Obar; Banziha.
https://www.theurbanlist.com/nz/directory/banziha-korean-bar ; And that’s before we get to talking about the decor. Here, among playful drawings on industrial walls, you’ll get a window into another world: the streets of Seoul, as a huge projection of a bustling night out at Halloween plays on loop. Whether you’re hiding away from the world for a feed, pausing for people watching, catching up with friends for a real feast or ordering round after round of good times—BANZIHA is an ideal backdrop.
Korean nightlife is something I am passionate about. As a Kiwi-Korean, introducing this aspect of my country/culture is something I take pride in. There are multiple bars which have introduced the concept of projection bars - creating a 'backdrop' or window into another world through digital images and projection is also something which intrigues me. How can I revive Imperial Lane which was essentially created to become a social space which adapts and adjusts to its surroundings throughout different stages of the day from a café during the day to bar during the night? Instead of completely changing up what it was intended to become, I would like to take on the challenge of reviving the original idea which wasn't executed as well as it aimed to.
I would like to combine this idea with the concept of a Korean Pojangmacha.
Pojangmacha, is a mobile kitchen machine that is commonly found scattered around Korean streets, acting as small independent vessels that operate somewhere between a restaurant and a bar. They are part of the invisible fabric of the city and form an integral part of Korean street life. They are typically divided into two forms, the wagons that operate during the day, serving a vast array of fried and traditional dishes and the night wagons with their plastic skirts and dodgy light fittings that act as mobile korean pubs.
Pojyanmachas today represent an alternative way to understand the city. We live in a time when most of the city’s existing fabric is more often than not erased and demolished to make way to new, large urban projects which simply dilute the city of its original DNA. Pojyanmacha for us is a tool to allows us to understand the city from a micro perspective, where intimacy, routines, daily life form the core of modern dwelling in a metropolis.
Our project does not seek to reinvent the Pojyanmacha or even rebrand this traditional urban artifact; rather by analyzing its "modus preradi" we want to fabricate a new form of micro architecture, that transforms the way we concieve buildings and vessels can adapt to the city. Micro architecture in our view has the power to act a sort of urban acupuncture, treating the ailments of the city not by surgically removing organs (buildings) but by relieving its stresses via precise interventions.
Pojyanmacha operate within the forgotten corners of the city, in the interstices that normally we don't associate with any useful programme, this combined with their 100% practical and functional architecture results in a beautifully and poetic composition that recaptures the lost human scale of the city. This project seeks to explore this poetic tension.
From studying pojangmacha, the material and tarpaulin played a significant role. Tarpaulin is a heavy duty water proof cloth usually made with plastic. It is commonly used in normal food vendors in Korea. The material in itself has the quality of opacity that allows light to come through. This creates more interesting atmosphere than that of daytime, creating twilight or warm night time.
Pojangmacha has its own merits and own culture. Zippers are used to make windows out of tarpaulin tents, or the rims were rolled up to make an entrance. Play Pot was a project that stimulates nostalgia, familiarity and recreates its own culture.
Possible Concept Ideas for Imperial Lane;
An extension of the vertical light wells which are currently placed inside Imperial Lane. How can these be extended out into Fort Lane with a larger variety of different elevations. Opaque glass and steel materials to act as an extension of the solid materials pre-existing on the site.
An opposite approach to the previous concept by pushing forward a softer design into the site through the projection of light, shadow and movement - creating different forcefields which are moving through the space. The existing site is quite heavy and dense, consisting of opaque glass, steel, brickwork, timber truss, stone and dilapidated concrete. I aim to create multiple, small material events within the space. A solid container which has an uncontainable interior within. Soft, light and delicate textiles will respond more dramatically with the atmospheric and environmental forces of the site rather than sturdy, permanent materials. The movement of the softer mesh textiles and possibly reflective panels could scatter light around fort lane/imperial lane - drawing us through the space in some way.
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