The movie Nostalghia from director Tarkovsky is my starting point for this studio.
\nThe scenes exist out of gates, arches, columns, beams, and various architectural
\nelements that take an important role throughout the whole movie. In my one-
\nminute site the focus is on decomposing and collaging these different elements,
\nliving a life on their own, creating their own narrative. By creating new
\ncompositions with these elements, new gateways to new spaces emerge. This
\nmethod becomes the base for my following work. Two plans are used as my main
\nreferences, the church of San Pietro in Tuscany, where the scenes of the roman
\nvaults in Nostalghia were filmed and The Danteum, that was never built, from
\narchitect Terragni. Two very recognizable plans, out of a totally different period
\nand mindset, coming together.
\nBy combining these plans and drawing over interesting interstices and cross
\novers, new spatial conditions arise. An elongated composition of elements. The
\nconceptual plan acts as the start for my further process, where some fragments
\nare put in 3D software, from which the first atmospheres are made. Because of
\nthe specific columns in glass, the space is deformed, and it is getting another
\ndimension. I continued this method even more in following renders, where the
\nconditions get more extreme such as a denser grid of columns, different
\noverhanging structures, more extreme shadows, more depth and playing with
\nblack and white. The complexity of the space in combination with this
\ndeformation forms these hyperreal images, where you must look tree times
\nbefore understanding this space. Next to the digital media, I use an analog
\nmedium to express this imaginary space. The axonometries are used as a spatial
\ntranslation of these digital atmospheres. It gives an impression of where you are
\nin the space, but it does not yet reveal everything. This as an ongoing process,
\nwhere the axonometries can again be put in 3D and new digital atmospheres can
\narise. By presenting them next to each other, as a long wall, some aspects are
\ncrossing over between the images, such as a shadow or a structure, to maintain
\na level of suggestiveness throughout my work.<\/p>\n