Interactive Landscape

INTERACTIVE LANDSCAPE ARIANNA AMANCAY PICCINO BARDHA META LETIZIA MOZZI AFSUN MEHMANI CEREN YESIL NAVEE N BA TTINA SNEHA TIRUPATI VISHAKA LOYA ZHAO DONGQI

“For me nature is not landscape, but the dynamism of visual forces�.

Bridget Riley Caspar David Friedrich, Viandante sul mare di nebbia, 1818

INDEX

Chapter I

SIGN

Chapter II PRESENCE

Chapter III TEXTURE Chapter IV STORYBOARD Chapter V BEHIND THE SCENES Chapter VI BIM Modeling

Naveen Battina Zhao Dongqi Vishaka Loya Afsun Mehmani Bardha Meta Letizia Mozzi Arianna Amancay Piccinno Sneha Tirupati Ceren Yesil

Chapter I SIGN

The scape we have in front of us is a product of the incessant work of the man in the nature. This continue work produces something that we can’t call natural but an anthropic landscape. We are researching and exploring traces and shapes moduled by human presence in the landscape.

“Life is like a landscape. You live in the midst of it but can describe it only from the vantage point of distance�.

Charles Lindbergh

Michelangelo Antonioni, Red Desert, 1964

Fig.1

Fig.2

CHAPTER I

CHAPTER i

CHAPTER I

CHAPTER I

CHAPTER I

CHAPTER I

CHAPTER I

Chapter II PRESENCE

The continue elaboration of the agricoltural landscape implies the presence of man. Presence shows the temporary result of the seasons and time and how people walk in the traces creating new signs.

“We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under this last one, right down to the true image of that reality, absolute, mysterious, which no one will ever see or perhaps right down to the decomposition of any image, of any reality�.

Michelangelo Antonioni, Blow Up,1966

Fig.3

CHAPTER II

Fig.4

CHAPTER II

CHAPTER II

CHAPTER II

CHAPTER II

CHAPTER II

“Landscape consists in the multiple, overlapping intricacies and forms that exist in a given space at a moment in time�.

Annie Dillard

Michelangelo Antonioni, Zabriskie Point,1970

Fig.5

CHAPTER II

Fig.6

Chapter III TEXTURE The result of human activities and natural elements define an anthropic blend expression of the agricoltural traditions and relationship with natural elements. Human activities modify the landscape creating new textures in a continous process.

“There are no lines in nature, only areas of colour, one against another”.

Edouard Manet

Luigi Ghirri “Reality is being transformed into a colossal photograph, and the montage already exists: it’s called the real world” Luigi Ghirri

Fig.6

Fig.7

CHAPTER III

Fig.8

Fig.9

CHAPTER III

CHAPTER III

CHAPTER III

CHAPTER III

CHAPTER III

CHAPTER III

CHAPTER III

Chapter IV ROAD TO VIDEO “The most important lesson I received from Conceptual art consisted in the recording of simple and obvious things, and viewing them under a whole new light�.

Luigi Ghirri

Akira Kurosawa, Anatomia di un rapimento, 1963

Fig.10

Fig.11

Steven Spielberg, Schindler list, 1993

Fig.12

CHAPTER IV

Fig.13

“Kandisky elaborates his method starting from the simplest element, the point, which assumed as a moving entity, determines the geometric line as a consequence of the trace of a set of points that generate a complexity in the generative space. The line is the only entity that, depending on its thickening, can generate a surface destined to receive the contents of the work.�

POINT

LINE

AREA

We found interesting connect the main geometrical elements to express the characteristics of the agricultural landscape of Piacenza. The point will help us to guide the exploration in the landscape, the line will show and analyze the image, the area will be the explored and analyzed landscape.

CHAPTER IV

ROAD TO VIDEO Studying scenes_ How moving the point

We tried to study from where and how our main character would pass through the images and the various landscapes, also how to show the concept of the line. The idea was to make the character interact and show the landscape and at the same time analyzing it. So we decided to start the video in an artgallery in which we would have seen black and filled frames and start searching for the blank ones making Bardha enter in the frames.

CHAPTER IV

ROAD TO VIDEO_ DRAFT STORYBOARD 1

CHAPTER IV

ROAD TO VIDEO_ DRAFT STORYBOARD 2

t=10s Bardha is in a gallery seeing pictures of

landscape. Some frames are blank she enter in the frame to find the missing picture.

t=20s Black background and music. Bardha is walking in the scene and parts of the photo start to appear. We start to see the composition lines along with the walk.

t=30s Composition lines change with every

t=40s Bardha arrives walking from the right

t=50s As she is walking, the rest of the com-

t= 60s

t= 70s

t= 80s

t= 90s

and is followed by the line made from her walk on the horizon in the middle of the picture.

CHAPTER IV

position lines that make up the photo appear, including the electricity grids and the landscape elements.

movement of Bardha. She walks out of the frame, leaving the full picture behind.

t= 100s

t= 110s

Chapter 2 shooting from t=120s to t=270s

CHAPTER IV

CHAPTER IV

t= 280s

t= 290s

t= 300s

t= 310s

t= 320s

t= 330s

t= 340s

t= 350s

t= 360s

Chapter V BEHIND THE SCENES

“When you are with a landscape or a human being where there is no need to speak, but simply to listen, to perceive, to feel”.

Terry Tempest Williams

CHAPTER V

CHAPTER V

PHOTOCOMPOSITION

CHAPTER V

Rule of thirds

Leading lines

Patterns

The image is imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines.

Is used to guide the viewer through the shot, draw their attention to the main subject or create a sense of movement. The lines are “leading” our gaze through the photo.

Are images in which the repeated shapes, colours or objects are ordered in either regular or irregular formations.

Golden ratio

Leading lines

Perspective

The spiral basically has a way of leading our eye naturally from the focal point outwards.

Guide the viewer through the shot drawing their attention to the landscape creating a sense of depth and perspective.

The lines in the image will appear to converge farther away from the viewer’s eye or as they approach the horizon in the distance.

REFERENCES VIDEO

PHOTOGRAPHY

Michelangelo Antonioni

Akira Kurosawa

Red desert, 1964

Anatomia di un rapimento, 1960

Fig. 2

Blow up, 1966

Fig. 11

Fig. 4

Steven Spielberg

Schindler List, 1993

Zabriskie point, 1970 Fig. 13

Fig. 6

Luigi Ghirri

Francis Ford Coppola

Rusty il selvaggio, 1983

Satoshi Kon

Paprika, 2006

Franco Fontana

Peter Brown

Daniel Cheek

Osvaldo Cavandoli

La linea,1971-86

CHAPTER V

TECHNIQUES STOPMOTION

SOFTWARES

Stopmotion is an animation technique that manipulates an object so that it appears to move on its own. The object is moved in small increments between photographed frames, creating the illusion of movement when the series of frames is played as a fast sequence.

Adobe Premiere Pro Adobe Photohop CS6 Adobe Illustrator CS6 Adobe Indesign CS6

SHOOTING

MUSIC

Shooting is a technique that we used for a part of the video.

The cameras recorded in the location our main character walking and interarcting with the landscape.

TOOLS PHOTOCAMERAS Canon 600D Canon 60D Nikon D3000 Panasonic DMC-LS75 Huawei P8 Lite

VIDEOSHOOTING DEVICES Huawei P10 Lite Samsung A3 2017

CHAPTER V

Ólafur Arnalds & Nils Frahm _ Four

esil

INTERACTIVE LANDSCAPE

POLITECNICO DI MILANO_ POLO TERRITORIALE DI PIACENZA Master in Landscape and sustainable architecture_ Course of Landscape REPRESENTATION and modeling.

Teachers: Alessandro Bianchi, Andrea Cammarata