Architecture in Motion - 20 sec film

My film is made from 70 still images, most of which were tediously hand drawn (some taking half an hour, most around 15 or 20 minutes). There is also around 10 photos and a few photo shopped combinations of photos/ drawings. In the 5 photos of the space the two elements that struck me the most were the holes in the wall (seemingly cracked) and the notion of the water providing a reflection of the rows of columns above. Thus i decided to have these holes explode with light at the start and then the 'camera' would zoom into the space and explore the mirror image as if it were reality.

Thus the start shows shadows cast by the cracks before they fill up by darkness. Our attention is shifted to the 'portholes' directly, and they eventually start to crack and light poures out from behind them. We zoom into the space and spin down into the water as we approach the door and everything becomes blurry. I created a mystery space beyond the doorway in which a strange dot appears. I made the images follow the dot as it goes back to the doorway (one spins around) and then out all the way back to the portholes at the end. We flip back to reality and rush to the end where the dot enters the holes and causes an explosion of darkness. Thus the beginning and the end of the journey are dialectical dualities and throughout the film one moves from darkness into light (the drawings get progressively lighter until the end again).

The images have a slight warmth to them which i added to reiterate the colours of the original space as well as resonate the explosion of light (in which the colours are warm yellows and oranges). While the concept of black and white contrasts was important to me I wanted the film to have a subtle sense of warmth.

Material Modelling

An overview of the model.


I tried to create a balance with colour - the colours of the rainbow are used for the contours on the left side of the model, while the right is kept in neutrals, blacks and whites.


This image shows the stick and string composition that holds the ground and first floors up.

The coloured paper is felted as I wanted to explore exciting textures. The ramp up to the ground floor is composed of white card, black (flexible) foam and cork that illustrates a range of materials.

Completed model. I tried to create a balance effect using my first action, elevating. The top floor is held in mid-air using satay sticks and string that illustrates the idea of tensional and compressional forces. The second floor is my second action, splitting and is lowered below the first. I wanted to play with the concept of up and down, elevation and depression. Thus the ground floor is raised high and one must walk up to it, while the top floor is balanced below and one must walk down to access it.

View inside to the stairs.

This is the recreation of my first 1:50 balsa model - one of my transformations is splitting, and cutting the first model was impossible as the grain was consistently going up the model (my split was between levels). Thus i created this model, and did not attach the first and second floor so the transformation would be easier.

Roof off.


Roof is on.

Image of the 1:50 model prior to its transformation.

Atlas of Colour

My achromatic tonal key is seen here and I composed it on my blue leather paper to create texture and create a 3d quality - this is also via the buildings which were painted and then cutout out and stuck on. Each building shows each of the 7 aspects of the achromatic tonal scale with various patterns on each facade.

This image shows my 49 veils creation for our classroom's window. I wanted my window creation to reflect the synagogue we visited in relation to the colour combinations possible by laying different coloured glass over each other. Thus I used my chosen colour blue as well as red to create purple windows. Each strip can lift out however, and thus the window can be just red, just blue or a mix with the purple. I also cut out some of the back 'windows' so the celephane can be held up to the light and appreciated.

This is the wall therapy exercise prior to being stuck in the atlas. The strokes are uni-directional and my three colours are used in a ratio of 2:1:1.

My colour therapy exercise is presented on this page of my atlas and the background shows the colour trick via the tiny blue squares. Each square is a photographed image of my abstract image of the toilet. When tessellated like so, and viewed by someone, the eye creates little blue hazy areas at each corner which I thought was a nice graphical effect. On top of this I placed my image, and one can again see my manifesto at the bottom.

This is the first page before my notes and is a cutout of the number 3. I ordered my notes so that that they relate to a different part of colour theory and wrote them so they fit into 6 pages. This is so that I could do a cutout of each number/letter in my pantone colour and put it on top of each page for a nice graphical effect. Thus before each page of notes is a cutout of 3, then 0, then 0 again, etc. Just to clarify, the MC in my pantone number stands for Matte Coat, the way the colour is finished inside the pantone book itself. The cutout worked well for you were able to see the silver notes on blue background behind the number and it looked effective.

One can also see part of my manifesto written at the bottom of the page. All white pages and some blue pages in my atlas have a line of the manifesto at the bottom, and when read from start to end creates one complete writing.

This is the front of the atlas from a different angle, showing the pages inside that present my chosen colour, patone 3005MC (deep blue).

This is the front cover of my atlas. It is actually the colour theory exercise 1, my 5 colour themes. On it is written 'Atlas of Colour' in graffiti, which is my passion that I attempted to use in a creative design sense. Around the characters are quotes from the protagonists as well as what each colour represents (for instance in the orange area is written 'spatial' for my spatial colour is orange). The binding that can be seen is a simple 4 bind weave using fishing wire, bound as tightly as possible.