3. in·ter·sti·tial (ntr-stshl)
adj
1. an empty space or gap between
spaces full of structure or matter.
2. an intermediate space located
between regular-use floors, commonly
located in hospitals and laboratory-
type buildings
disembodied [ˌdɪsɪmˈbɒdɪd]
adj
1. lacking a body or freed from the
body; incorporeal
2. lacking in substance, solidity, or any
firm relation to reality
Cinematic Experience of interstitial spaces
4. Reuben Nanda is an Interior and Spatial designer and an experimental
filmmaker. Specialising in the field of architectural films, his work
depicts the relation between the real and the represented space. In
the past he has explored architecture through installation based work
by collaborating with fashion stylists and fine artists. His films have
been exhibited worldwide and are gaining interest by the day. Whilst
his previous piece this year won a competition in Australia, it is being
screened internationally. His current work has been shortlisted for the
Lumen Prize and will debut a portugese premiere at the Architectural
film festival in Portugal late September 2013.
BioGraphy
MA Interior and Spatial Design
Chelsea College of Art and Design
University of the Arts London
Tutor : Julia Dwyer
Course Leader : Dr. Ken Wilder
5. 1.
2.
a.
b.
c.
d.
e.
3.
a.
b.
c.
4.
5.
Introduction
Theory
Spectator experience of cinematic architecture
Film Rigs and Mechanics
Spatial investigation through expanded cinema
Outcome
Conclusion
Films
Film: That which is not seen
Mapping the site
Installation Film: The Unseen architecture
Bibliography
Acknowledgements
Contents
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7. Introduction
My work aims to enhance the viewer experience of architecture
through the medium of film. It establishes a dialogue between the
audience and the film space. The visual language of film can control
a viewer’s position in cinematic space. It achieves this effect through
the camera motion used in the making of the film. The camera guides
the viewer through a specific journey in the filmic space. Here the
observer is invited into this journey through ‘proximity of decision-
making scenarios’ (1)
. In other words, the movement of the camera in
cinematic spaces can ‘thrust upon a spectator the position of being in
control’ (2)
. My work analyses the role of the
camera in creating such scenarios. It explores the notion of dis-posi-
tioning the viewer through film. Parallel to this approach, inventive
projection methods can increase the spectator’s experience of the
filmic space. To analyse this theory my work focuses on relationship
between the screen, the audience and the projected film, through an
investigation into the field of expanded cinema. To this end my work
moves through a variety of relevant subjects yet it focuses on one
important research question:
How does filmic architecture enhance a viewer’s experience of a
particular space?
My research question helps divide my work into two main stages:
(a) I start by analysing the spectator’s experience of cinematic
architecture specially in horror cinema. This study helps narrow down
my choice of architectural spaces.
(b) Examining the masterpieces of great filmmakers and analysing
their use of the camera, leads me to the subject of film rigs and
mechanics. Through the use of inventive rigs I lay the
foundation for my filmic language.
By experimenting with the above through expanded cinema, I film an
existing architectural space and re-project on the same space. In this
process I use innovative filming and projection mechanisms. These
experiments inform the viewer of the architectural
arrangement in the filmic scenes ultimately enhancing their
experience of the space. Through this document I aim to show the
investigation, experimentation and analysis that have been
conducted to answer my research question. Furthermore I will focus
on the outcomes of how this question has translated my work into a
film-based installation.
2
11. Spectator experience of Cinematic architecture
2.1 Analysis of camera movement
My research questions the motion of camera as a tool to alter or
enhance spectator experience of filmic spaces. It analyses selected
camera movements, the projected film cuts and their effect on the
viewer, thus ‘reflecting the inherent ephemeral architecture of the
human mind, thought and emotion’ (3)
. The experience of cinematic
architecture is dissected by looking at the relationship between
the spectator and the filmic camera movements. This approach is a
result of my initial interest in manifestations of fear in film. My work
used horror film cliché as an integral part of research whilst being
analytical about camera techniques. Hitchcock’s filmic architecture
became the starting point of my practice. As Pallasmaa says:
‘Hitchcock creates spaces of terror thereby surveying the architectural
metaphysics of fear’ (4)
. In other words, Hitchcock mixes the everyday
reality with elements of danger, unspecified and merely hinted at.
This juxtaposition brings out the element of fear. However, what
Pallasmaa misses out on is a key point to my research. The narrative
merely supports the characters; the architecture is purely highlighted
through the use of cameras. The chosen camera angles, frames,
cuts and edits identify the space from a certain perspective. This
viewpoint then suggests the spectator as to how the space should be
comprehended.
In order to evaluate the role of camera movements I
compared selective shots from two horror films: Alfred Hitchcock’s
Psycho (1960) (5)
and Stanley Kubrick’s The Shining (1980) (6)
, both
of which share a similar spatial narrative. Both The Shining and
Psycho contain a scene within the shower of a hotel/ motel room
that represents a key moment in the film with high level of tension
and suspense (Figures. 1 and 2). In both of the scenes, the spectator
becomes a participant of the shot when the camera pans slowly
around the room without any characters in the space (Figures. 3
and 4). This edit takes place right after a shot of a protagonist in the
scene. Pramaggiore, M. and Wallis, T. (2005) explain the use of the
camera with such edits as a point of view shot (7)
. This edit shows the
spectator the spatial arrangement of the interiors through the eyes
of the characters. The slow movement of the camera along with
the point of view shot builds up suspense thereby enhancing the
viewer experience of the scene. To further understand the spectator
experience in relation to the feeling of suspense, I examined the
shower scene from the film Psycho. In this scene the camera zooms
out from the face of a murdered character. It then moves around the
cinematic space turning into a point of view shot. The camera then
moves from the shower into the room.
6
12. This switch takes place right at the end of the scene when the corpse
of protagonist is lying on the floor. While we see the space from the
dead character’s perspective, the motion of the camera suggests that
she is moving from the shower into the motel room. By moving the
camera in a way a character would walk, the point of view shot places
the spectator in the protagonist’s position. The viewer, being central
to the scene, experiences mixed emotions. (Figures. 5 and 6), are a
re-creation of the camera movement from the scene described above,
achieved by using motion mapping. These results highlight the
chosen path of the camera in the motel room, which has in turn been
used to guide the viewer through the filmic space of this scene.
Spectator experience of Cinematic architecture
The open interpretation from Psycho shocks us more,
enhancing our experience of the cinematic architecture and forming
a heightened emotional state. The viewer temporarily becomes a part
of the filmic space until disconnected through the introduction of
characters. This is achieved by the use of the point of view shot which
becomes an inherent part of my practice.
As opposed to the continuous spectator involvement in
Psycho, the point of view shots in The Shining are intersected with
jump cuts. In the hotel room scene that we are analyzing, the
protagonist walks into a haunted room. After he opens its door the
camera turns into a point of view shot, showing the space from the
character’s perspective (Figure. 7).
In line with the point of view shot I experimented by filming
a grave in the midst of the night at Chaldon Church in Farthing
Downs, London (Figure. 9). Moving towards the grave, I filmed the
scene using a simple handheld technique (Figure. 10). This shot was
further dramatized through night vision, as inspired by Daniel Myrick’s
and Eduardo Sanchez’s The Blair Witch Project (1999) (8)
(Figure. 11).
The chilling loneliness and quietness of the dark cemetery and the
sudden sounds of the wind made the space fearful. This experience
being personal and intimate was invisible when the film was shown
to a group of spectators on a mere screen, in a simple room. The
change in space and the use of a small screen omitted the spatial
experience of the cemetery. To express the frightening experience
of the graveyard to the receiving audience I decided to analyze the
relationship between the screen and the audience. This result shifted
my focus into innovative projection methods.
This shot is interrupted with jump cuts on to the face of a
second character with a frightened expression (Figure. 8). The viewer
at this point is informed of the ghostly presence in the shower. By
the time the first character opens the shower door, the pre informed
spectator no longer feels the suspense.
7
13. Figure. 1. Scene from the movie The Shining
(1980)
Figure. 2. Scene from the movie Psycho (1960)
Duration: (00:29:24 to 00:34:33)
Figure. 3. Scene from the movie The Shining (1980)
Duration: (01:11:40 to 01:12:30)
Figure. 4. Scene from the movie Psycho (1960)
Duration: (00:49:06 to 00:49:22)
Figure. 5*. Plan View
Recreation of camera movement from the movie,
Psycho (1960)
The blue line indicates the camera movement
Figure. 6*. Perspective View
Recreation of camera movement from the
movie, Psycho (1960)
The blue line indicates the camera movement
8
14. Figure. 7. Protagonist opening the door shot
from the movie The Shining (1980)
Duration: (01:11:40 to 01:12:30)
Figure. 8. Jump cut shot from the movie The
Shining (1980)
Duration: (01:11:42 to 01:11:50)
Figure. 9. Chaldon Church, Farthing Downs, London, United Kingdom
Figure. 10*. Grave Shot, Chaldon Church, Far-
thing Downs, London
Experimental Horror Film
Figure. 11. Night Vision Shot-The Blair Witch Project (1999), scene children in the woods
Duration: (00:45:12 to 00:45:20)
9
15. Spectator experience of Cinematic architecture
2.2 Analysis of projection techniques
The relation between the screen, audience and film is of key interest
for artists working in the field of expanded cinema. A study into the
subject of developing spectator experience shows how the creators
in this strand of cinema ‘have tried to make the involvement of the
screen with the audience active rather than passive’ (9)
. Expanded
cinema deals with the viewer involvement both through the content
of the projected films and through the means of presentation. By
‘shifting focus from the ordinary projector screen’ (10)
, artists in this
field have designed innovative means of presentation, thereby
enhancing the viewer experience.
Looking at Steve Farrer’s piece, The Machine (1978) (Figure.
12), one sees that the installation is divided into three distinct parts: a
mechanically operated device is attached to a projector which throws
images around a panoramic screen. This device spins around 360
degrees with a strip of film running through it. The film itself consists
of a succession of images which, when projected, spin rapidly around
forming a panorama. The imagery of the projected film shows
ordinary landscapes and people, described by Farrer as a ‘diary of
events or memories’ (11)
.
However, what he doesn’t mention is the importance of
the projector device in relation to the viewer experience. When the
mechanism initiates, it creates a loud noise and the images begin
to fly around the spectator (Figure. 13). The high-speed spin of
the device gives a feeling of uneasiness to the viewer. The sudden
movement and sounds shock the viewer, altering his experience of
the space.
My work aimed at using Farrer’s innovative projection
technique in relation to my experience in the cemetery. The intention
was to be able to express the frightening experience of the graveyard
to the receiving audience. On reviewing the grave film I noticed my
discomfort of being in the cemetery. This anxiety showed in the way
I moved the camera to film the grave. Through motion mapping I
first retraced this very camera movement (Figure. 14). Influenced by
Farrer (1978), I then built a device to re-project this film along with the
camera movement involved in its making. The camera motion was
an almost curved line (Figure. 15) rather than a pan or rotation. To re-
project this motion I designed a version of a slider crank mechanism
(12)
(Figure. 16) and applied it to a projector.
10
16. Spectator experience of Cinematic architecture
The device consisted of a set of three connected rulers: the first one
was moving on a white skating wheel powered by a motor (Figure
17). This part of the mechanism turned in a circular motion pushing
the second ruler from side to side on a metal bed. The third ruler of
this device replicated the curved camera movement applied in the
making of the grave film. The projector was mounted at the far end
of this ruler. The mechanism made the projector move back and forth
and left to right at 180-degrees (Figure. 18) replicating the initial
camera movement. Although the sudden movement of the projected
film successfully enhanced the viewer experience through shock, the
mechanism was imperfect and projected imprecise movement.
To achieve a more accurate analysis of the camera
movement, I tried an analogue way of representation (Figure. 19).
I printed each of the frames from the grave film and overlapped
them, exposing the errors from the experiment. This highlighted my
negligence towards the focal length of the projector in comparison to
the camera. It also showed clear abandonment of the ‘z’ axis i.e. the
depth of the space. In simple words, to consider the ‘z’ axis I needed a
mechanism that would actually walk in the space while projecting the
film. To develop such a mechanism, I hacked into the machinery of a
remote controlled (RC) car. The unit’s design was modified to house a
camera or projector (Figure. 20).
The RC car, whilst projecting, was remotely controlled to
move over a drawn camera movement from the grave film (Figure.
21). The precision of movement prevailed, as speed and movement of
the car on a particular path was an issue.
The results of this entire experiment showed the need for a
perfectly engineered rig that could achieve the required movement.
Furthermore it highlighted the importance of precise and controlled
filming. If the initial handheld movement used for the filming of the
grave would have been preconceived with regards to a projection
mechanism, a precise and detailed representation of this movement
could have been achieved. This analysis proved the importance of an
in-depth study required in the field of film rigs and mechanics for the
purpose of filmmaking.
11
17. Figure. 12. Steve Farrer’s, The Machine (1978)
Installation with a panoramic screen
Figure. 14*. Camera motion mapping of grave shot Figure. 15*. ‘X’ axis view of camera movement of grave film
Figure. 13. Steve Farrer, The Machine (1978)
Images flying around spectators through the mechanism
12
18. Figure. 17*. Experimental Device
Metal Bed
Projector
Ruler 3 Ruler 2 Ruler 1 Skating wheel
Figure. 16. Slider Crank Mechanism
Figure. 18*. Results of grave shots with experimental
device.
Figure. 19*. Converting digital to analogue
13
20. Figure. 21*. Remote controlled car test with projection of grave film on a drawn camera movement
15
21. Film rigs and Mechanics
3.1 Disembodied spatial investigation
Following the study of film rigs and mechanics to control the camera
movement, I researched how Kubrick used innovative camera rigs to
control the motion of the camera on The Shining film set. An example
of it can be seen in the film when a child character is riding around
the hotel corridors in a bicycle (Figure. 22). The boy goes around the
set several times throughout the movie. He is followed by a slow
moving and steady camera, which is positioned at the boy’s point of
view. The camera maintains a certain distance putting the viewer in
an imaginary back seat. In order to achieve such filmic spatial effects
in this scene, Kubrick used the first ever steadicam (13)
, a portable
camera rig used to stabilize motion shots (Figure. 23). This use of such
equipment highlights the importance of camera rigs in presenting
cinematic spaces.
Furthering my research into innovative camera rigs, I came
across Tony Hill. His camera contraptions refer to a wider sense of
usage of film mechanisms and devices for controlling the camera. His
rig called Satellite Crane (Figure. 24) was used to shoot his film called
Downside Up (Figure. 25). The manually operated device films spaces
or objects from the left to the right and vice versa. It moves in a big
arch capturing a space from ground level to a satellite view and back
down to the ground.
This characteristic of Hill’s rig highlights the disembodied
use of the camera. While the camera is attached to one end of his
triangular rig frame (Figure. 26), a counterweight is added to the
other. Connecting these two ends through an axle in the center,
the rig functions like a seesaw. A lever system attached to this axle
helps manage the rig with ease, without direct physical contact
with the rig system and through the operation of the lever alone
(14)
. The use of such disembodied spatial filming unit creates an
explicit, non- physical experience for the viewer, forcing him to
take the same journey as the camera. To further analyse the notion
of disembodied filming we look at Artist Jonas Dahlberg’s work.
His films involve heavy use of disembodied cameras and motion
controlled camera heads. A motion control head is a robotic
instrument that is used to operate a camera by a wired joystick
(15)
. Using this technology Dahlberg connects the camera to a
secondary display screen. This allows him to see the camera lenses’
view. Thus he films miniature architectural models via remote
operation (Figure. 27).
16
22. Film rigs and Mechanics
As he describes his piece A view through the park, 2009, (Figure.
28): ‘Set at night, the shot travels endlessly between two buildings,
transforming from a non- physical journey for the viewer through
the park - to a furtive, intruding gaze within the private spaces’(16)
.
Dahlberg’s piece suggests the use of a camera to secretly explore
remote spaces. While highlighting his use of innovative film rigs
he stresses on the importance of his filmic content: ‘the purpose of
filming this scaled model was the fact that I was denied access to
film on the original site’ (17)
. This work thus intrudes private spaces
that are inaccessible otherwise. This insight has opened another
avenue for my research and focused my efforts in the area of the
inaccessible, interstitial spaces.
3.2 Exploration of Interstitial spaces
I re-examined my initial research in horror cinema
focusing on the choice of filmic locations. Horror films often use
unexplored and hidden spaces as their key point of interest. They
place characters in locations or situations where connection with
the outside world is disjointed. An example of such a space can be
seen in Danny Boyle’s movie, Shallow Grave (1994) (18)
. A character
in this film hides himself in the attic of his house (Figure. 29). In
this dark corner he disconnects from everyone, as he fears for his
life. He then loses sanity and starts to reside in this dungeon like
environment.
In architectural terms, these spaces are called interstitial
or in-between spaces (19)
. They refer to the inner body of a building.
They are leftover for the working of the building’s mechanisms.
Also called in-between spaces they are often hidden away from
public use. In simple words, an interstitial space is the part of a
building that is placed between two levels. It is meant to give a
breathing space to the essential foundation of a structure. The
crucial function of such places, which is generally hidden away in
architecture, intrigued my curiosity. Cinematographers’ use of such
places to highlight the notion of fear furthered my interest in such
places. Influenced by Dahlberg’s idea of disembodiment I decided
to shift my filmic content to the exploration of interstitial spaces
through disembodied investigation. This decision laid the
foundation of my further work.
17
23. Following my research into the disembodied and the interstitial, I
ventured to explore the otherwise inaccessible areas through camera
lens. I studied the design and engineering of camera dollies. Since
a dolly is operated on tracks, it easily controls the movement of a
camera in ‘z’ axis. A normal camera dolly is huge in size and requires
manual operation (Figure. 30). By designing a site-specific miniature
dolly (Figure. 31), I achieved easy access into hidden spaces I could
then explore. This design allowed for incremental curves to the tracks
on which the dolly could smoothly maneuver in a fixed direction.
Once set on the tracks the dolly was pushed far out and controlled
with the use of a fishing stick. This non- physical use of the dolly
was purely meant for exploring the idea of disembodiment into an
inaccessible space.
I tested my mini dolly filming the attic space in Chelsea
College of Art and Design (Figure. 32). Hidden away from the main
areas of the building, this was an ideal site to highlight an inaccessible
interstitial space. The site consisted of huge electrical wiring units that
powered the building. To focus on this in-between element of the
attic, I set the camera angle at 45 - degrees looking up. With cracked
holes in the walls of the attic, the camera flew through each of the
different sections highlighting the in-between spaces it went through
(Figure. 33).
Film rigs and Mechanics
This experiment established my focus into the area of
disembodied camera motion and the exploration of interstitial
spaces. However, it misses out on one key element of my research,
which is the re-projection of filmed footage for enhancing the viewer
experience. In order to explore it further I looked back into the area of
expanded cinema and its experimental presentation methods.
18
24. Figure. 22. Steadicam shot from the movie The
Shining (1980)
Duration: (00:41:15 to 00:41:50)
Figure. 23. Steadicam equipment from the movie
The Shining (1980)
Figure. 24. Tony Hill’s Satelite Crane (1984)
Figure. 25.
Stills from the movie, Downside Up (1984)
Duration: (00:03:34 to 00:05:43)
Figure. 26.
Working Of Satelite Crane (1984)
19
25. Figure. 28. Scene from the movie, A view though a park (2009)Figure. 27. Dahlberg’s architectural model for filming A view though a park (2009)
Figure. 29. Attic scene from the movie Shallow Grave (1994)
Duration: (00:57:35 to 01:06:59)
Figure. 30. The Losmandy 4 leg Spider Dolly (2010)
20
29. Falling in the category of expanded cinema artist Julie Marsh uses the
notion of disembodiment not only for filming but also projection. Her
work focused on ‘the re-examination of spaces, zooming in to give the
essence of a place’ (20)
(Figure. 34). By developing a site-specific set of
looped tracks she uses robots to film and zoom over selective parts of
the space (Figure. 35). The tracks limit the camera view to a fixed point
thus purely focusing on pre-positioned shots. The tool used for both
filming and screening the work is a tablet computer moving along
the tracks. The footage viewed is pre-recorded and corresponds with
the timing and position of the tablet at any particular time during the
screening. The experience of this piece leaves the viewer confused
between the real and the imaginary. The analysis of Marsh’s work also
proves the importance of a perfectly constructed rig to retrace and
project camera movements. The use of such technically engineered
rigs adds a new perspective for retracing camera motion, ultimately
enhancing the viewer’s experience, which is the underlying principle
of my own work.
Through analyzing Marsh’s work I reworked my mini dolly
to house a Pico projector along with a camera. The intention was to
project the attic film on ceiling of the space underneath, to highlight
to the audience the unseen space above them. This test was then
filmed in three different points of view.
Spatial Investigation through expanded cinema
Angle 1.
Replicating the 45-degree angle used in the making of the attic
film, this set up positioned the camera steadily far aback from the
dolly (Figure. 36). Sharing the exact height as the projection level,
this angle focused purely on the movement of the projection
(Figure. 37).
Angle 2.
This camera angle attempted at examining the overall projected
space through the human eye level from a constantly changing
position (Figure. 38). It used the ‘looking up’ view but the change in
height and angle zoomed into the projection thus enhancing the
viewer experience through change in scale (Figure. 39).The change
in the position used the idea of jump cut techniques.
Angle 3.
Exploring the projected space through the projector’s eye level
(Figure. 40), this camera angle uses the ‘looking up’ view. It focuses
on the projection in the space, whilst moving in the same
direction as the projection (Figure. 41)
The purpose of using three different angles was to analyse
the experience of the audience. The different viewpoints were
chosen to see which works best in terms of enhancing or altering
the spectator experience.
24
30. While angle 1 was inspired by Farrer’s use of steady
images projected through a moving mechanism, angle 2 was
based on Kubrick’s idea of jump cutting the viewer’s position.
Finally, angle 3 represented the true use of inventive projection
methods. This third version of the film not only projected the
camera movement from the attic movie but the projection also
moved in the direction of the original film thus warping the
boundary between the real and filmic space. These projection
experiments redefined my project as they encapsulate the essence
of my research. They expose the unseen, the interstitial, and the
disembodied. Through the projection of wiring elements from the
attic onto other ceiling areas, I revealed the parts of the building
that are inherent in its structure and yet unseen by the user. Having
spent 6 years studying in this building already, I was in awe by the
ample spaces I never realized existed. This discovery focused my
entire work on the interstitial spaces of Chelsea College of Art and
Design as shown in further outcomes.
The interest in interstitial spaces further directed a test
piece, filming a section of Chelsea College. I chose the A Block to
begin my exploration. This building consists of 5 different levels.
Through disembodied filming I observed and documented the
interstitial spaces throughout each of the 5 levels.
The interest in interstitial spaces further directed a test piece, film-
ing a section of Chelsea College. I chose the A Block to begin my
exploration. This building consists of 5 different levels. Through
disembodied filming I observed and documented the interstitial
spaces throughout each of the 5 levels. I started outside the build-
ing and moved the camera from the lower ground floor (Figure.
42.) to the top level (Figure. 43.), focusing on the journey. The
camera looked at the electrical supply unit of this building from a
45-degree angle, which provided an optimally wide point of view.
The electrical units form the inner structure or life of the building.
Often hidden, these in-between elements sit on the ceiling of each
floor. By filming only the visible sections, I created a map consist-
ing of these units as shown throughout the film.
Inspired by the use of the jump cut technique from The
Shining I then produced a fragmented film of these spaces. This
film overlaid the camera’s journey through the different floors, rath-
er than a smooth steady transition from one level to another. The
series of jump cuts create a sense of confusion about the continuity
of spaces and the relation between them.
Spatial Investigation through expanded cinema
25
34. Figure. 42*. Shot from film interstitial spaces
A Block - Chelsea College, Lower ground floor.
Figure. 43*. Shot from film interstitial spaces
A Block - Chelsea College, Third floor.
29
35. As a result of an on-going shift between my research and the practical
outputs this project has developed into an installation encompassing
all my areas of interest as outlined in this document. The installation
is positioned in an empty space in Chelsea College of Art and
Design (Figure. 44.), which is forgotten by everyone and as such is
a perfect location for my subject matter. This installation replicates
and re-projects the parameters I filmed in, in relation to the viewer
experience of architecture. The journey through a narrow corridor
described at the beginning of this document is the anticipated
experience of my installation. In order to create this experience I have
divided my installation into 3 areas. The first area is the viewer area,
which is a dark corridor replicating the spaces filmed (Figure. 45.). It
puts the viewer in a position of a protagonist in the film. The second
area is the ceiling of this installation, which is a back
projection screen (Figure. 46.). This screen is positioned three meters
above the viewer area, replicating the filming setup. In the top area
comes a mechanically controlled projection rig (Figure. 47.), which is
placed a further two meters above the screen. It projects the film onto
the back projection screen but is hidden away from the audience to
avoid distraction. Thus by keeping the rig out of sight the main point
of focus is always the film.
Outcome
The mechanism used to project the film in motion, as it
was filmed initially, is based on my previous mini dolly device. The
projector is set on a four-meter long track with two pulleys on either
side connected by a central rod. This rod has a fixed motorised gear at
its centre, which automates the entire mechanism. The pulleys use a
loop of ropes that are attached firmly to either side of the installation
walls. When the motor initiates, its pushes the gears thereby turning
the pulley system. This motor is designed to change its polarity using
limit switches connected through a pair of relays. Thus when the dolly
reaches one end, the limit switches change the direction of the motor.
This set up ensures a smooth and steady motion of the projector. This
motion of the projector replicates the actual camera motion while
filming therefore giving an impression of a live filming event taking
place at the time of the screening. It causes confusion to the spectator
and triggers questions relating to the architecture and the purpose.
This experience leaves the viewer more consciously aware of the areas
of the building we normally take for granted and leave unnoticed.
30
36. Figure. 44*. Section view of installation on site highlighted in light green.
Staircase 6- C Block Lower Ground Floor, Chelsea college Of Art and Design.
31
37. Plan view of installation on site highlighted in light green.
Staircase 6- C Block Lower Ground Floor, Chelsea college Of Art and Design.
32
38. Elevation view of installation on site highlighted in light green.
Staircase 6- C Block Lower Ground Floor, Chelsea college Of Art and Design.
33
39. Perspective view of installation on site
highlighted in light green.
Staircase 6- C Block Lower Ground Floor,
Chelsea college Of Art and Design.
34
40. Perspective view of installation on site
highlighted in light green.
Staircase 6- C Block Lower Ground Floor,
Chelsea college Of Art and Design.
35
49. The multitude of resources I was looking at throughout the year lead
to this beautifully filmic outcome. The installation-based film has
moved far from the starting point of this project while using every
strand of the research. Looking at the use of the camera as a tool, I
have explored techniques such as the point of view shot. Additionally,
I investigated the use of jump cut editing. This effect can be seen
in the film showcasing the interstitial spaces of Chelsea College.
By tracking and retracing camera movements I endeavoured on a
journey of mapping techniques. This notion of mapping has remained
consistent throughout my work. The research and experimentation of
these ideas has driven the overall development of the project.
Elaborating on the experimentation involved in this project we can
see how the knowledge of film rigs was used and modified over
time. Using Dahlberg’s and Hill’s idea of disembodiment I explored
the use of non physical detached rigs. From the tests with the RC
car, to the design of the miniature camera dolly, we can see how
experimentation helped in designing the mechanised rig for my
installation. These experiments reference a vast portion of my
research into film rigs and mechanics. The development of these
designs not only shows understanding but also critical evaluation of
resources.
Conclusion
While the content of my films has evolved over time, its roots
go back to the initial study led in the genre of horror cinema. Using
the idea of inaccessible and hidden spaces from this genre of film,
I have applied it to the notion of interstitial spaces in architecture,
which is reminiscent of these qualities. Combining these interstitial
spaces with the concept of disembodied spatial investigation, I
studied and controlled the experience of these spaces through film.
Furthermore it is not just the films but also their presentation that
have enhanced the viewer experience of cinematic architecture.
Works of artists such as Julie Marsh and Steve Farrer support the idea
of innovative projection techniques. Using my film rig as a projection
mechanism I have explored Marsh’s technique of re-projection in
space. Through selective camera angles I have evaluated the use of
film rigs and their role in increasing spectator involvement.
The combination of all these experiments has given rise to
a new technique for exploring and interacting with architecture. This
method has been used to map the interstitial elements of
Chelsea College of Art and Design.
44
50. Forming a narrative of interstitial spaces my project has reached a
point of a new beginning. Through disembodiment I am now able to
produce a map for any give site based on thelocation of its interstitial
spaces. When these maps are presented as films they tell the viewer
of a specific architectural story. They take the viewer and position him
to witness to the hard working areas of architectural construction,
the interstitial spaces. The in-depth knowledge of filmmaking helps
achieve this displacement in the subtlest manner. Through this
chronicle I have blurred the line between the real and the imaginary.
While my interest in architecture remains consistent through
my work, filmmaking lies at its heart. To further my cinematography
skills I will be concentrating on building new and innovative site-
specific rigs to film architectural spaces. By researching unique
filming techniques I will push the boundary on how architecture can
be presented in a novel way through film. Through a variety of re-
projection techniques and modern technology I will endeavour on a
journey to create inventive site-specific installations. These
installations will still share the very same objective that this project
has helped me set out: The objective of enhancing viewer
experience of architecture through the presentation of cinematic
spaces.
Conclusion
45
53. Film: That which is not seen
https://vimeo.com/71492095
Focusing on the idea of the unseen this film is a working piece
between the material and the immaterial. While the camera explores
the space in terms of its true form, the controlled movement aims
at analysis of spatial representations in films. These spaces are often
forgotten and neglected despite them being crucial to the structure
of the site. Called interstitial spaces, they are out of our reach, passed
by, unseen. This piece focuses and zooms in on them, reminding us
about their existence. The overlaid maps show the differnt places
filmed. The red line indicates the area covered by the camera. The
arrow indicates the direction of the camera movement.
Chelsea College of art
and design
48
54. Duration:
0:05:05:24
Film: That which is not seen
Using the notion of jump cut editing the camera travels to different
places at a constant speed. This technique brings out a feeling of
consistensy even when the camera keeps jumping from one position
to another. The red arrowed lines have been sperated from the map
to clearly indicate the distinct areas covered on site.
49
57. mapping the site
This map shows the areas explored on site. It includes interstitial
spaces in blocks A, B, C and D of Chelsea College Of Art and Design.
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement. The filiming angle
used is the looking up view which is highlighted through this sence .
https://vimeo.com/72599423
Between block a
& triangle space
52
59. mapping the site
Scene 1:
Three different interstitial spaces were uncovered on this floor of the
site. They have been bifurcated through different scenes. The red line
indicates the area covered by the camera. The arrow indicates the
direction of the camera movement.
https://vimeo.com/72252466
block a & BLOCK b
Lower ground
floor
54
61. mapping the site
https://vimeo.com/72253753
Scene 2:
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
block a & BLOCK b
Lower ground
floor
56
63. mapping the site
https://vimeo.com/72291911
Scene 3:
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
block a & BLOCK b
Lower ground
floor
58
65. mapping the site
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
https://vimeo.com/72235112
block a & BLOCK b
Ground floor
60
67. mapping the site
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
https://vimeo.com/72230012
block a & BLOCK b
first floor
62
69. mapping the site
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
https://vimeo.com/72232092
block a & BLOCK b
Second floor
64
71. mapping the site
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
https://vimeo.com/72234013
block a & BLOCK b
third floor
66
73. mapping the site
https://vimeo.com/72558568
block C
lower ground
floor
Scene 1:
Two different interstitial spaces were uncovered on this floor of the
site. They have been bifurcated through different scenes. The red line
indicates the area covered by the camera. The arrow indicates the
direction of the camera movement.
68
77. mapping the site
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
https://vimeo.com/72295805
block C
Ground floor
72
79. mapping the site
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
https://vimeo.com/72293673
block C
first floor
74
81. mapping the site
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
https://vimeo.com/72558569
block d
lower ground floor
76
83. mapping the site
The red line indicates the area covered by the camera. The arrow
indicates the direction of the camera movement.
https://vimeo.com/72298712
block d
First floor
78
85. 80
Installation film: The unseen architecture
This film forms the most important part of my exibition. It is the basis
on which I have proposed and bulit the 1:1 installation. While the
film itself keeps moving, when projected through my mechanised
rig it will create a warp zone like effect. The red line indicates the
area covered by the camera. The arrow indicates the direction of the
camera movement.
block C
lower ground
floor
https://vimeo.com/72946763
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88. l.) Pramaggiore, M. and Wallis, T. (2005). Film: A Critical Introduction. London: Laurence King Publishing Ltd. (p49-51) (7)
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room-237_800_432.jpg (Last accessed on 9th June 2013)
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i.) Figure. 12. The Machine. (1978). Photograph.http://www.londonmet.ac.uk/news/latest-news/2011/october/artists-marking-time-at-london-met-expo.cfm (Last
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n.) Figure. 24. Satelite Crane. (1984). Photograph.http://www.tonyhillfilms.com/rigs (Last accessed on 5th April 2013)
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92. 87
Acknowledgements
I would like to give my sincerest gratitude to my tutors - Dr. Ken
Wilder, Julia Dwyer, Robin Jenkins and Pete Maloney. Their knowledge
and wisdom is class apart. I would also like to thank my dearest
friends and collaborators Agata Lis and David Robinson for their
everlasting support. My humble thanks to Hiroshi Ito for his help with
microprocessing. Furthermore I am forever indebted to my brothers
Roop Manjdadria and Vikram Nautiyal for all their help, without
which I would have never accomplished anything to date. More so
I would like to thank my sister Prachi Nanda for her excellent skills
at photography. Without her technical competence I would have
been far behind this all. Above all I would like to thank my parents,
Rajeev Nanda and Simi Nanda, who strongly believe I am capable of
accomplishing the impossible. Their faith in me has finally come to
light. Thank you Dad for your amazing attitude and guidance towards
life.
