A few images were striking, first of all, the fact that a navigator walks in space with a goal in mind, finding something. Searching and looking. I was primarily interested in le dossier B, a documentary where the protagonist is looking for a connection to a forbidden underground citadel. My interest grew further as I extended my research to other films, such as the disorienting feeling of going through the setting of l’annee derni\u00e8re a Marienbad and the fly-through camera person in the film Birdman. Moreover, the situational site contained a few principles that I explored simultaneously.<\/p>\n
The concept of presence in space A concrete marble statue with frozen expressions permanently occupying the same place plays an intimidating role. The decision to include them in space transforms one’s perception of that space. A third-person view is created when looking at a statue and navigating around it. A perspective similar to the one presented in a video game.<\/p>\n Sequencing and walking Obstacles Infrastructure. In between finding my situational site and starting my design, I was in search of a medium. The first attempt was a set of collages that were abstractions taken directly from the film see project book). They served me as a base throughout the project as they were the things that were created entirely out of intuition; they were pure and unbiased.<\/p>\n As the project progressed and I was attempting to capture the films’ environment’s essence, I proceeded by casting my models in plaster. This experiment was formative and definitive since it takes a lot of time to create the cast, pour in the plaster, and take photographs. It consolidated the idea of the elements I decided to turn solid. This medium was limiting. Time was not on my side.<\/p>\n The final experiment was done entirely digitally, and it was able to capture many aspects that happened in my situational sites.<\/p>\n In the end, I realised that a set of clips combined with images with sharp perspective are the ideal way to represent my project. One minute site
\n<\/strong>In one of the earlier situational sites, I had edited the queen’s coronation and her effect by merely walking in the church. In his Manhattans transcript, Bernard Tschumi describes that architecture and bodies inside a space alter the balance of the geometric order that is architecture. Walking into a room to find another person has this aspect of things. In both le dossier B and l’Ann\u00e9e derni\u00e8re a Marienbad, there is a particular emphasis on statues and sculptures that I interpret as being present.<\/p>\n
\n<\/strong>Often, navigation in an unknown space increases one’s curiosity. Specific relations between elements such as a small opening between two walls, a set of stairs, a free-standing column catch my attention. These are elements that I deduced from the films by reconstructing the images I get from a panning shot or any camera movement that conveys the view a person could have. I made sure navigation is a crucial element in the space I create.<\/p>\n
\n<\/strong>Often a fence, a wall, or a closed-door exist to make it harder for someone to enter a
\nprotected area. With some effort, one can breach and enter. These elements are also a clue that hints at the possibility of hidden spaces.<\/p>\n
\n<\/strong>The observer notices it and understands its purpose but categorises it as secondary in the register of things he\/she perceives.<\/p>\n
\nInfrastructure is expressed with lines and the spatial setting in solid white. This decision was taken to ensure that the infrastructure is visible and noticeable yet remains a secondary element. It also emphasises the fact that it comes from beyond and gravitates towards the situational site.<\/p>\n
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