The movie Nostalghia from director Tarkovsky is my starting point for this studio.
The scenes exist out of gates, arches, columns, beams, and various architectural
elements that take an important role throughout the whole movie. In my one-
minute site the focus is on decomposing and collaging these different elements,
living a life on their own, creating their own narrative. By creating new
compositions with these elements, new gateways to new spaces emerge. This
method becomes the base for my following work. Two plans are used as my main
references, the church of San Pietro in Tuscany, where the scenes of the roman
vaults in Nostalghia were filmed and The Danteum, that was never built, from
architect Terragni. Two very recognizable plans, out of a totally different period
and mindset, coming together.
By combining these plans and drawing over interesting interstices and cross
overs, new spatial conditions arise. An elongated composition of elements. The
conceptual plan acts as the start for my further process, where some fragments
are put in 3D software, from which the first atmospheres are made. Because of
the specific columns in glass, the space is deformed, and it is getting another
dimension. I continued this method even more in following renders, where the
conditions get more extreme such as a denser grid of columns, different
overhanging structures, more extreme shadows, more depth and playing with
black and white. The complexity of the space in combination with this
deformation forms these hyperreal images, where you must look tree times
before understanding this space. Next to the digital media, I use an analog
medium to express this imaginary space. The axonometries are used as a spatial
translation of these digital atmospheres. It gives an impression of where you are
in the space, but it does not yet reveal everything. This as an ongoing process,
where the axonometries can again be put in 3D and new digital atmospheres can
arise. By presenting them next to each other, as a long wall, some aspects are
crossing over between the images, such as a shadow or a structure, to maintain
a level of suggestiveness throughout my work.
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