Master's portfolio showcase - An Aircraft journey beyond boundaries

EXPLORATORY PRACTICE

PRESENTED BY PALLAVI BANSAL 2229142

Fig. 1.1. Aircraft reception render (2023)

CONTENTS : 1) VISIT TO LONDON - PHYSICAL ADVENTURE AND KEY SOURCE OF INSPIRATION 2 IDEATION - THE ORIGIN OF IDEA IN RELATION TO FUTURE SCENARIO 3) CONCEPT DEVELOPMENT 4) PROCESS WORK 5) MOVIES 6) CASE STUDY - VAN GOGH'S STARRY NIGHT

CLICK HERE FOR MOVIE LINK

7) MAKING OF THE FILM 8) TASKS ACCOMPLISHED BY ME 9) CONTRIBUTIONS MADE BY ME 10) DESIGN NARRATIVE AND 3D DESIGN (INDIVIDUAL) 11) DESIGN DEVELOPMENT AND NARRATIVE (INDIVIDUAL) 12) MY RENDERINGS 13) CAPTIVATING STILLS FROM THE FILM 14) WORKING AND STRUCTURE OF THE TEAM 15) LIST OF ILLUSTRATIONS - REFERENCING

Fig. 1.2. Aircraft reception sketch (2023)

Fig. 4.2. Happy soul,Gazelli Art house, London (2023)

Visit to

London

I saw a dull and boring human figure installation at Gazelle Art house, and next to it was a completely contrasting colorful, euphoric human figure installation. I decided this would be the goal and soul of my vessel journey.

GAZELLLI ART HOUSE

The state of Euphoria

TAMARES ART GALLERY LONDON

Fig. 5.3. Streets of London (2023) Fig. 5.2 Streets of London (2023)

This random red car parked on Grafton St, London inspired to create futuristic aesthetics. The exterior of our automobile can be given a sense of modernity and innovation by incorporating features from aviation design, such as sleek lines, integrated lighting systems, and cuttingedge technology interfaces.

Fig. 2.1. Tamares Art Gallery, London (2023)

The time when we were finalizing the place to explore for inspiration, while my groupmates were suggesting nearby places such as Dover, Margate, Ramsgate. It just occurred to me, why not London.

It's the hub for Art and inspiration. You can get inspired even from a basic London street. And I think it was one of the most productive decisions made in favor of our project and vessel.

So as a means of group activity, We finally fixed the visit to London to take inspiration for our Futuristic scenario and the ways with which we can implement it.

We visited various rich art places, light exhibitions and fascinating installations namely :

LONDON STREETS

Fig. 4.3. Sad soul, Gazelli Art house, London (2023)

Even flowers on street made me introspect my liking for vibrancy. Being in the presence of flowers lessened my stress, anxiety, and sadness while increasing feelings of joy, satisfaction, and general wellbeing. Flowers' vivid hues, enticing aromas foster an upbeat atmosphere.

Fig. 5.1. London eye, London (2023)

tHE ICONONIC LONDON EYE, served as a prominent motivation for design of our vessel.

The large circular construction got us the idea for usage of curved forms, At night, the lit capsules of the London Eye offer a spellbinding display which brings to our notice the use of dramatic lightng effects.

Sleek & dynamic design

Fig. 3. Red car parked, London (2023) Fig. 5.4. London eye, London (2023)

At David Zwirner show, I found out how various colors of lights have influenced my mind and emotions. It evoked healthy psychological and physiological response and perceptions. It grabs attention and can direct people's attention to particular spaces or things.

Fig. 2.3. Group photo, David Zwirner Show, London (2023)

Circular & curved forms Fig. 4.1. Gazelli Art house, London (2023) Fig. 2.2. David Zwirner Show, London (2023)

Tamares Art gallery David Zwirner Show Gazelli Art House

Gazelli Art house The infamous London eye!

INSPIRATIONAL LEARNING : COLORS, PATTERNS& SHAPES ARE VISUALLY STIMULATING AND ENHANCES FEELINGS OF TRANQUILITY

THE TEAM

TH E OR IG IN O F T HE I D E A

Fig. 6.3. Present-day Aircraft (2015)

Present-day Aircrafts

Futuristic Scenario

Uncomfortable seating, limited legroom, and inadequate cushioning.

Outdated or Worn-out Interiors with stained carpets.

Inadequate privacy, reducing comfort.

Poor general ambiance because of dim and harsh lighting conditions.

People may experience a persistent sense of helplessness and despair and believe they have no control over their situation or can do nothing to change it.

Fig. 6.1. Present-day Aircraft (2006)

Fig. 6.2. Present-day Aircraft (2019)

The journey we intend to go on cannot be accomplished by the present day aircraft. We aspire to break the barriers in terms of comfort and interiors and create something out of the box and give the user a Utopic experience

Origin of a futuristic Aircraft to take us on a journey!

Not just physical but Psychological. It will have a Spa to rejuvenate, private booths to relax and discover the lost connect within yourself.

I D E A T I O N

Obsolete in-flight entertainment systems and lack of wi-fi, modern AI technology.

2050

During long journeys, ofen the passenger has not much to do, rather just sit back and pass time with outdated ways Cuurent cabins are built to hold a large number of passengers in a little amount of space. leading to crowded seating arrangements.

People may lack drive or a sense of purpose, and there may be a pervading sense of hopelessness. There may not be much hope for a better future, and dreams and goals may be suppressed.

People may struggle with loneliness, social isolation, and a lack of meaningful interactions. People living alone, disconnected lives in fragmented communities could exacerbate depressive and hopeless thoughts.

The futuristic scenario we are depicting have structures being large, oppressive and unattractive.

Fig. 8. Dark & dystopian World (2022) Fig. 7. Mental health statistics (2023)

Above are the stats of mental health across the World in the year 2023, We are subjective if this will change, rather we presume a World where these statistics will worsen with each passing day.

Fig. 9. Depressed lady (2022)

We imagine a dark & dystopian future in which the human life lacks aesthetic appeal. The overall gloomy atmosphere leading to psychological imbalance.

The landscape in future can be dominated by cold, geometric designs with harsh edges, emphasising an industrialised feeling and a lack of human touch.

CONCEPT

F U T U R E

Fig. 12. Futuristic Aircraft exterior (2022)

The futuristic Aircraft

On boarding a journey of exploration and self-discovery, where people find a way to reconnect with the joys of life, rekindling their spirit and embracing a newfound sense of purpose. It embodies a theme of resilience, optimism, and the potential for human rejuvenation even in the face of adverse conditions and a challenging circumstances.

Fig. 10. Apocalyptic City Street (2021)

Fig. 15.1 Rendered Air reception sketch (2023)

Fig. 6.1. Present-day Aircraft (2006)

Fig. 14. West Gate gardens, Canterbury (2023)

Future scenario Atmosphere of sorrow and melancholy in a dystopian future where optimism is hard to come by.

Reflecting on the effects of societal deterioration and the human spirit's resiliency in the face of hardship, the struggles of humans navigating a world defined by darkness and sadness.

Fig. 15.2 Rendered Aircraft cabin (2023)

Fig. 11. When depression hits (2015)

Today's Aircraft The mood inside current day aircraft cabin is depressing and dreary. The interior of the aircraft's design and arrangement lacks aesthetic appeal, originality, or comfort.

Travelers are having a dull and monotonous experience, possibly due to outmoded design, small spaces, or a lack of amenities. The overall feeling is one of disappointment or discontent with the aesthetics and passenger experience of today's aircraft interiors.

Fig. 13. Relaxing spa treatment (2022)

Prominent features of futuristic Aircraft : Immersive experience inspired by Van Gogh paintings.

AI operated Spa and cabins Solar panel operated Aircrafts The shape of the Aircraft combining 3 zones.

Fig. 15.3 Rendered Air spa passage (2023)

Fig. 16 Hydrogen molecule shape Aircraft (2023)

S C E N A R I O

shooting and 3D rendering While creating 3D views, I was tying to play around materials, and I was striving to create the perfect balance of color and lighting so that it is not overpowering but mesmerizing

Visits Fig. 28. 2D CAD drawing of the Aircraft (2023)

Planning Fig. 23. Visit to London (2023)

Fig. 26.1, 26.2. Recording rendering process (2023)

Fig. 4.3. Sad soul, Gazelli Art house, London (2023)

My idea is to create a holistic aircraft experience with which the person ends up feeling back to Life and in synchronization with their soul that they have lost in the dark & dystopian World.

ideation

Fig. 4.2. Happy soul,Gazelli Art house, London (2023)

Moving forward we made rough sketches (one is by Razan, other ones by me) to visualize the look of the aircraft without Fig. 27.1. Brainstorming on paper (2023) compromising the Fig. 27.2. Brainstorming on paper (2023) functionality.Basic planning was done to understand the structure we want to built. Then I went a bit too far and figured out what I want to do with the space by planning on 2D software.

Editing and compiling

Final day presentation Fig. 24. I am giving presentation in the classroom (2023)

Fig. 25.1, 25.2. Movie making process (2023)

"ELYSIUM" (2013) DYSTOPIAN SCIENCE FICTION ACTION FILM

Directed by Neill Blomkamp Neill Blomkamp's science fiction movie "Elysium" is set in the year 2154, where Earth has become overpopulated, polluted, and ravaged by poverty and disease. In contrast, an elite group of wealthy individuals reside on a luxurious space station called Elysium, orbiting the planet Matt Damon's character Max Da Costa, a former prisoner living in the destitute and criminalised slums of Los Angeles, serves as the protagonist of the plot. Max sets out on a perilous expedition to Elysium where cutting-edge medical technology can cure him after a working accident leaves him with a lethal radiation dose.

The movie looks at issues like immigration, abuse of power, and socioeconomic inequity. The richness and cutting-edge technology of Elysium, where the elite lead opulent lifestyles, and the destitute conditions on Earth, where people fight to survive, are shown to be in stark contrast.

"Elysium" tackles problems including healthcare inequities, class differences, and the effects of unregulated technological developments by fusing intense action scenes with social commentary. It presents a dystopian future and poses concerns regarding the possible effects of societal inequities and the pursuit of privilege.

M O V I E S "HER" (2013) AI OS ROMANCE EXPLORES LOVE AND LONELINESS

Fig. 44. Still from the Film "ELYSIUM" (2016)

Directed by Spike Jonze

The Spike Jonze-directed science fiction romance drama movie "Her" was released in 2013. Theodore Twombly, played by Joaquin Phoenix, who develops an emotional bond with Samantha, a cutting-edge operating system (OS), voiced by Scarlett Johansso, in the movie, which is set in a near-future Los Angeles.

The story takes place in a civilization where people are turning to technology to find friendship because they feel more alone and separated. A sensitive and reclusive guy named Theodore buys a brand-new AI operating system that will evolve dependent on the needs and preferences of the user. He rapidly develops a strong emotional bond with Samantha, who is intelligent, conscious, and has the capacity to grow and learn.

"Her" provides a moving examination of the need for connection in people and how technology affects relationships. It poses challenging queries on the nature of love, the limits of awareness, and the possible repercussions of increasingly sophisticated AI systems. The film "Her" encourages audiences to think about the complexity of human emotions, the place of technology in our lives, and the various ways in which we look for connection and purpose. This is done through stunning photography, sensitive performances, and contemplative narrative.

Fig. 45. Still from the Film "HER" (2013)

Vincent van Gogh's The Starry Night is an expression of the artist's tumultuous state of mind because of the wavy, swirling lines of the hills, mountains, and sky, the brilliantly contrasting blues and yellows, the large, flame-like cypress trees, and the thickly layered brushstrokes.

Since night landscapes are uncommon compared to the artist's preferred subjects like irises, sunflowers, or wheat fields, Van Gogh's canvas is undoubtedly an exceptional work of art, both in terms of its quality and within his body of work. However, it is astonishing that The Starry Night has gained such widespread recognition. It was briefly addressed by Van Gogh in his letters as a straightforward "study of night" or "night effect."

TECHNICAL CHALLENGES

Fig. 46. Vincent van Gogh, The Starry Night, oil on canvas (1889)

Before beginning The Starry Night in late June or early July 1889, Van Gogh had been envisioning a blue night sky filled with golden stars for several months. The use of contrasting colour and the difficulties of painting en plein air (outdoors) at night were two technical obstacles it offered, and he frequently mentioned it in letters to family and friends as a promising but troublesome theme. In the spring of 1888, Van Gogh admitted to the painter Emile Bernard, "A starry sky, for example, well it's a thing that I'd like to try to do, but how to arrive at that unless I decide to work at home and from the imagination?" (596, 12 April, 1888) The thought of painting an imagined scene from imagination upset Van Gogh, who was committed to working from prints and illustrations or outside in front of the landscape he was capturing whenever possible. In Starry Night over the Rhône (1888, oil on canvas, 72.5 x 92 cm, Musée d'Orsay, Paris), a painting of the French city of Arles at night, he did paint the first example of the full night sky. However, the evidence suggests that his second Starry Night was primarily, if not entirely, produced in the studio.

INVENTION, REMEMBRANCE AND OBSERVATION

LOCATION

Van Gogh's use of simplistic forms, thick impasto, and starkly contrasted colours, along with his rich blending of creativity, recall, and observation, may be part of what makes the work so captivating to later viewers and other artists. Van Gogh's night scapes were created with the intention of inspiring and motivating others. In 1889, when Vincent displayed Starry Night over the Rhône at the Salon des Indépendants, a significant and influential venue for avant-garde painters in Paris, he expressed to Theo his hope that it "might give others the idea of doing night effects better than I do." His own subsequent "night effect," The Starry Night, became the most well-known and influential work of art associated with Expressionism.

Van Gogh was eventually admitted to Saint-Paul-de-Mausole, an asylum and clinic for the mentally ill close to the village of SaintRémy, following the dramatic end to his brief collaboration with the painter Paul Gauguin in Arles in 1888 and the infamous breakdown during which he amputated part of his own ear. Van Gogh was invited to paint there while he recovered, although he rarely left the asylum's boundaries for more than a few hundred yards.

Fig. 47. Saint-Paul-de-Mausole near Saint-Rémy, France (1889)

MAKING OF THE FILM It was exciting and creative to create a short film on a futuristic aircraft. We were able to push the limits of conventional aeroplane design and imagine a time where invention and technology had completely changed how we travelled.

Extensive investigation and conception, which looked into cutting-edge technology, advanced propulsion systems, and future design concepts, were the first steps in the process. We sought to design a strikingly futuristic-looking but nevertheless realistically and technically feasible aeroplane.

A creative problem was how to effectively convey the capabilities of the futuristic aeroplane and its influence on the planet within the confines of a brief film. We put a lot of effort into highlighting the aircraft's distinctive qualities, its significance to the plot, and how it altered the lives of the individuals or the environment in which they lived. We intended to immerse the audience in the world of the futuristic aeroplane and arouse awe and excitement using cinematography, sound design, and visual effects.

Fig. 25.1, 25.2. Movie making process (2023)

I focused on dialogue as I was writing, trying to achieve resonance and sincerity. I tried to write dialogue that flowed naturally and gave information about the characters and their relationships.

Fig. 22. Script writing in the classroom (2023)

Writing Narrative & script

The aim was to keep the narrative interesting, with a tempo that kept viewers interested from start to finish.

Making 3D Interior walkthrough Real - Life clips shooting and location hunting Fig. 30. My working in different locations and software (2023)

Fig. 29. Captures' while filming the movie (2023)

Compiling material, editing, finding & synchronizing music and Finally, uploading!

TASKS ACCOMPLISHED BY ME

Fig. 17. Still from Movie editing (2023)

It started by creating a precise outline of the tale we wanted to tell before beginning the filming by creating a story board of the scenes After brainstorming concept, ideas, characters and themes that resonated with our future scenario and the Vessel, We filmed the short clips and rendered the virtual plane.

In the movie, Setting the mood and enhancing emotions was a task that was accomplished by coordinating the selection and placement of music and right sequencing.

I then coordinated Razan's voiceovers with the short clips shot to suit the timings and transitions.

Various transitions were implemented as per the requirement of the scene. For example : Transporting from the dystopian World to the futuristic Aircraft shows a unique transition.

We shot the real-life clips in the streets of Canterbury, some were shot in the West-gate gardens of Canterbury where we took short clips from two perspectives. One is dark and another is positive.

After precising outline of the tale we want to tell before , we began filming and wrote summary of the main characters, events, and situations and took forward by makeing a storyboard and shot list.

Fig. 18. 2D CAD drawing of the Aircraft (2023)

Making a 2D of the Aircraft was a need of the project. Because if we want to add something or create a futuristic World, we should be aware of what's going to come in where. What are my visions with the Aircraft and how is it going to be placed in space.

Before beginning the drawing, I conducted a research and gathered reference materials, such as technical drawings of the current World aircrafts which enabled me to accurately comprehend the aircraft's structure, size, and details.

The above exercise was done for the main reason and thought that If I want to improve something and create and modify some existing model to a futuristic one, I should have an idea of it's current state's technical.

Went on by sketching the basic shapes of the aircraft on the paper, then transferred it to the 2D software - AutoCAD. Continued by incorporating spa, bar, private Pod seating booths and basic things such as the fuselage, wings, tail, and engines.

Further the AutoCAD 2D helped to design the Aircraft in 3D software SketchUp. It laid the foundation of our futuristic vessel that we were going to build.

Fig. 19. 3D Rendering in process (2023)

The visual mood of Aircraft was created by creating the model of the interiors in the 3D modelling software - Sketchup.

Close attention to small details like furniture, texturing, lighting, and other components was given in order to achieve the desired output.

I imported the model in Lumion and with real-time Rendering settings, I played with various materials, textures and lighting to stimulate the Loon and feel of the Aircraft.

Included more details to the scene, such as people, plants, or items to help the interior render come to life and gain scale.

On one side changed the regular yellow default lights to colored lights. Playing with colors and effects of glass and carpets was a fun experience.

I experimented in the software in creative ways. For instance Creating the Van Gogh immersive experience by putting the correct light and moving immersive effect.

A variety of effects are available in Lumion to improve the aesthetic appeal the the space. Effects like depth of field, lens flares, bloom, color correction were added to the scenes.

CONTRIBUTIONS MADE BY ME A gratifying and enlightening experience was managing my own team on a collaborative project. I was in charge of leading and organising the team's efforts in order to achieve the common objective. It started with coordinating for work and knowing the weakness' and strong points of each individual and assigning the work accordingly.

There were some team members who did not take the project seriously so we kind of didn't bother much and went ahead to achieve the ultimate goal of creating the film.

Also made it a priority to create a friendly, supportive workplace right away. I made sure that everyone on the team felt appreciated and heard by promoting open communication and actively listening to their ideas and comments. In order to foster a supportive and fruitful working environment, the team needed to develop a sense of trust and camaraderie.

It was really rewarding to see how each team member evolved over the project. Working together with a broad collection of people gave us the chance to take advantage of various viewpoints, abilities, and ideas, resulting in a final product that was more than the sum of its parts.

Fig. 20. Happy soul me, Shooting in West Gate garden (2023)

The experience of acting in my own project movie, which was based on a futuristic situation, was thrilling and engrossing. I was immediately sucked into a compelling world of possibility and imagination the moment I set foot in the project.

New learning experiences and chances for creative experimentation were available day. The futuristic details, including the chic, creative clothes and cutting-edge props that let me feel fully immersed in the universe of the play. I had an easier time embodying my role because of the set design's attention to detail and the visual effects' increased believability of the future scenario.

Together as team, we produced a gripping story that entertained while also inspiring thought about the possible directions our future might go. In order to ensure a sense of authenticity and emotional depth, I worked to express the characters' intricacies, concerns, and hopes through my performance.

My own project film, which is based on a future scenario, required me to push the boundaries of my acting skills, try out new expressions and emotions, and adjust to the particular difficulties of realising a futuristic vision.

Fig. 21. Discussion with the team-mates (2023)

The script and narrative writing of the film was a challenging experience on its own.

We just went into it right away, And it was a Friday afternoon when the professors had just given us a direction to go on for the film and that's when I help the pen and started to write like a poet writes.

Rhyming and sentences just came as it is as the script moved forward.

From the initial concept to the final draft, I embarked on a journey of storytelling, crafting characters, and constructing an engaging narrative.

The challenge was to relate the Aircraft interiors, Future scenario and current day scenario in a way that everything looks flowy and interconnected.

It was a liberating experience for me to write the script for my own movie project since it gave me the chance to use my imagination, engage in extensive storytelling, and create the world I had in mind.

It was satisfying to hear another teammate's reciting that in the movie.

Fig. 22. Script writing in the classroom (2023)

D & 3 IVE The structure of spa is created after we took inspiration from London eye, It was during our group visit that we decided the look n feel we wanted to give to our Spa. The sleek and futuristic design of the London Eye capsule inspired us to create interiors with clean lines, simple aesthetics, and advanced technology integration.

To create an aesthetically appealing and technologically modern aircraft spa room, futuristic materials, lighting schemes, and creative storage solutions were incorporated as well.

Spa Dome Fig. 32. Rendered Spa area (2023)

Fig. 33. Rendered Spa Dome (2023)

NAR

RAT Fig. 31.1. Inside the London eye (2007)

We designed aircraft interiors that priorities passenger comfort, breathtaking views, efficient space use, as well as a sense of awe and wonder. Incorporating these components will transform the whole flyng experience, making it one of a kind psychological journey along with physical journey.

Also, The London Eye offers amazing views over the capital, allowing passengers to connect with their surroundings.

Similarly, our airplane interior was constructed with huge windows or advanced display panels that provide passengers with breathtaking views of the sky and landscapes while in flight, instilling a sense of awe and wonder.

IGN

London eye capsule

DES

Fig. 31.2. Inside the London eye (2019)

Fig. 34. Van Gogh immersive experience (2020)

Van Gogh & Gazelli art house

Taking inspiration from the artwork at Gazelli Art House in London lead to a vivid and colourful reception experience.

Here's how the artwork at Gazelli Art House was used to inspire the design of our dynamic and appealing Air reception room.

Color Scheme: Gazelli Art House exhibited art and installations with colorful and energetic color schemes with bold use of lighting. Similarly we created a reception area that utilizes strong and contrasting colors by drawing influence from their artwork as shown in the image on top right. In order to add energy and visual appeal to the space, I gave 3D effect to art wall in the software Lumion and used a vibrant palette to charm the eyes.

Some of the Gazelli Art House's presentations contained immersive and fascinating installations. Similarly I Incorporated eye-catching and interactive art exhibits into the reception area, Spa walking area to bring this concept to life. These installations are acting as focal point in the interior space, eliciting curiosity and establishing a lighthearted tone for guests as they enter the area.

We created interactive experiences that will engage visitors and urge them to explore. Consider using touchscreens or interactive displays to educate visitors about the Aircraft's AI systems. While people wait, this can provide an immersive and educational experience.

Air reception

Fig. 36. Rendered Air reception (2023)

Fig. 35. Artwork in Gazelli Art house, London (2023)

Passage Fig. 37. Rendered Van Gogh immersive walls (2023)

DESIGN DEVELOPMENT & NARRATIVE David Zwirner's light show provided inspiration for creating an immersive and visually captivating aircraft interior.

I observed lighting is extensively used as a medium for creative expression in David Zwirner's light displays. This encouraged the usage of novel lighting approaches in the airplane interiors, where lighting becomes an intrinsic element of the overall design.

We propose Beautiful Lighting installations, color-changing LED panels and programmable lighting systems in the aircraft cabin.

Transitions between distinct lighting states and intensities are common in David Zwirner's light displays. So I assume to create dramatic lighting transitions in the airplane cabin using this approach. Adjusting the illumination to progressively dim during night flights, for example, to simulate the transition to a tranquil sleep environment. Similarly, subtle lighting changes might assist passengers in adjusting to various phases of the flight, such as takeoff, cruising, and landing.

Offering passengers individual lighting controls or personalised lighting settings in the seating area, allowing passengers to create the environment they want during the journey.

Fig. 38. Light installations, David Zwerner show, London (2023)

We have designed airplane interiors that convey specific moods or themes using this inspiration. Subtle lighting adjustments, for example, might provide a quiet and serene ambiance for relaxation, whereas vivid lighting designs can energize and elevate passengers during daytime flights.

Fig. 39. Rendered Airplane cabin interior, color scheme 1 (2023)

The impact of lighting in transforming the Look 'n' feel of the Aircraft.

Exploring Interesting application of lighting in the software gave me effects and output that was so fulfilling that I didn't feel the need to overdo the other texture.

David Zwirner's light shows often involves transitioning between different lighting states and intensities. Use this concept to create dynamic lighting transitions in the aircraft interior. For example, adjust the lighting to gradually dim during night flights to mimic the transition to a peaceful sleep environment. Similarly, gentle lighting changes can help passengers adjust to different phases of the flight, such as takeoff, cruising, and landing.es and materials and kept everything in harmony.

Fig. 40. Rendered Airplane cabin interior, color scheme 2(2023)

Fig. 42.1. Rendered Air reception, Realistic (2023)

In order to explain the interiors in an artistic way, I not just only produced photo-realistic renders, Rather water color renderings and effects have been produced to add a distinct and artistic look giving a touch of creativity and aesthetic appeal to renderings.

It has soften the edges and created a dreamy, painterly effect, making the visuals more visually engaging and captivating.

Fig. 41.1. Rendered Air reception, water color (2023)

Vibrant color palette I selected a colorful and modern color scheme that complements the motif of the airplane and spa inside.

Incorporated bright, contrasting colors to add visual appeal and excitement.

I also used metallic tones, neon highlights, as well asfuturistic colors such as deep blues, electric purples, and brilliant oranges.

Nature-inspired elements I infused nature-inspired components into the futuristic design to produce a harmonious balance of organic and technical aesthetics. Lving plant walls, natural materials such as wood and stone, as well as biomimetic design components that mirror natural shapes and patterns have been used throughout

Dynamic lighting effects

Fig. 41.2. Rendered Air reception, water color (2023)

To accentuate the futuristic mood, I have used dynamic lighting effects in the rendering. Also in order to generate a futuristic glow throughout the aircraft and spa interior, experiments with neon lighting, LED strips, or color-changing lights have been done until the desired output was achieved.

Fig. 42.2. Rendered Air reception, Realistic (2023)

Fig. 43. Rendered Spa Dome Room, water color (2023)

Stills from the film .......

F RA ME 9

WESTGATE GARDEN, CANTERBURY

FRAME 11

Fig. 49. Connection between the spirits, still from - A Utopic Journey (2023)

SCENES : A UTOPIC JOURNEY WESTGATE GARDENS, LONDON HEATHROW (LOCATION)

WESTGATE GARDEN, CANTERBURY

FRAME 13

Fig. 50. Perspective exchange, Still from - A Utopic Journey (2023)

LONDON HEATHROW

Fig. 51. Welcoming to the Aircraft, Still from - A Utopic Journey (2023)

The composition of the film still captures the emotional connection between the spirits. The happy spirit's outstretched hand serves as an invitation, a gesture of compassion and empathy. The sad spirit, though hesitant, gazes at the happy spirit with a mix of curiosity and longing, contemplating the possibility of finding happiness once again.

In this whimsical scene, the happy spirit, embodied by a vibrant and energetic character, extends a hand to the sad spirit, portrayed as a desolate figure cloaked in shadows. The happy spirit's eyes sparkle with hope and kindness as she invites the sad spirit to embark on a magical journey that promises to restore joy to her weary heart.

Through this film still, the viewer is transported into a world where the happy spirit's unwavering optimism and the sad spirit's yearning for happiness converge, promising a transformative journey that will guide the sad spirit towards healing and newfound joy.

FRAME 25

FRAME 82

AND UPLOAD!

VIRTUALLY CREATED AI OPERATED SPA

WESTGATE GARDEN, CANTERBURY

Fig. 52. Rendered Spa Dome Room (2023)

Fig. 53. West Gate gardens, Canterbury, Still from Movie editing process (2023)

The film's composition still portrays the beautiful balance of modern technology with a tranquil spa environment. It invites the spectator to picture the wonderful feeling of being submerged in this AI-powered oasis, where the AI assistant's care and modern spa treatments work in tandem to produce a truly renewing and transformative experience.

The passenger's body language conveys a sense of release and happiness. Their eyes glitter with a renewed feeling of fulfilment and clarity. The wind blows over their hair and billows their clothes, capturing the exciting adrenaline coursing through their blood.

(The video was shot by a random stranger while I was going to my home Country during Easter break.)

YOUTUBE

Fig. 54. Screenshot and the process, Movie uploading on Youtube (2023)

As we prepare to share the creation with the world, a rush of emotions raised. It felt a a sense of pride in seeing the vision come to life and knowing that a significant milestone has been achieved in the filmmaking. It felt a sense of relief as well a bit of nervousness, as the uploaded video embarks the opportunity to showcase the work.

Enacting in the film as Sad spirit.

Inputs in script writing Inputs in movie making 3D modelling Case study on Spa Initial moodboards working Coordination with the team Inputs in overall concept of film Initial zoning

Fig. 48.1. Team member Srushti (2023)

Srushti

Fig. 48.2. Team member Pallavi (2023)

Pallavi

Concept development 3D Walkthrough, lighting and modelling of Aircraft.

3D texturing and materials of Spa, Dome rooms, Aircraft and air reception 2D layout drawing /space planning Coordination with the team Conceptualization of the film Script/narrative writing of the film Movie making and editing of film Music search for the film Enacting in the film as Good spirit Location scouting Working on overall concept, sketches of the Aircraft and film Initial mood boards working for presenting to professors.

Study on Aircraft technicals

Shooting the real-time clips Voice overs for the film Inputs in film sequencing Inputs in Aircraft interior Initial sketches Initial mood board for designated areas Working on giving concept to Aircraft as a hydrogen molecule.

Help in compiling initial level visit clips for presentation Research on color presence in the project

Fig. 48.3. Team member Umar (2023)

Umar

Fig. 48.4. Team member Razan (2023)

Razan

Figure. 1.1 Bansal,P. (2023) Aircraft reception render [Render Image] In possession of: the author: Canterbury.

Figure. 14. Bansal,P. (2023) West Gate gardens,Canterbury [Photograph series] In possession of: the author: Canterbury.

Figure. 1.2 Bansal,P. (2023) Aircraft reception sketch [Sketch] In possession of: the author: Canterbury.

Figure. 15.1. Bansal,P. (2023) Rendered Air reception sketch [Render Image] In possession of: the author: Canterbury.

Figure. 2.1. Bansal,P. (2023) Tamares Art Gallery, London [Photograph series] In possession of: the author: Canterbury.

Figure. 15.2. Bansal,P. (2023) Rendered Aircraft cabin [Render Image] In possession of: the author: Canterbury.

Figure. 2.2. Bansal,P. (2023) David Zwirner Show, London [Photograph series] In possession of: the author: Canterbury.

Figure. 15.3. Bansal,P. (2023) Rendered Air spa passage [Render Image] In possession of: the author: Canterbury.

Figure. 2.3. Bansal,P. (2023) Group picture, David Zwirner Show, London [Photograph series] In possession of: the author: Canterbury.

Figure. 16. Razan,A. (2023) Hydrogen molecule shape Aircraft [Sketch] In possession of: the author: Canterbury.

Figure. 17. Bansal,P. (2023) Still from Movie editing [iMovie screenshot] In possession of: the author: Canterbury.

Figure. 3. Bansal,P. (2023) Red car parked, London [Photograph series] In possession of: the author: Canterbury.

Figure. 18. Bansal,P. (2023) 2D CAD drawing of the Aircraft [AutoCAD screenshot] In possession of: the author: Canterbury.

Figure. 4.1. Bansal,P. (2023) Gazelli Art house, London [Photograph series] In possession of: the author: Canterbury.

Figure. 19. Bansal,P. (2023) 3D Rendering in process [3D software - Lumion screenshot] In possession of: the author: Canterbury.

Figure. 4.2. Bansal,P. (2023) Happy soul, Gazelli Art house, London [Photograph series] In possession of: the author: Canterbury.

Figure. 20. Bansal,P. (2023) Happy soul me, Shooting in West Gate garden [Photograph series] In possession of: the author: Canterbury.

Figure. 4.3. Bansal,P. (2023) Sad soul, Gazelli Art house, London [Photograph series] In possession of: the author: Canterbury.

Figure. 21. Bansal,P. (2023) Discussion with the team-mates [Photograph series] In possession of: the author: Canterbury.

Figure. 5.1. Bansal,P. (2023) London eye, London [Photograph series] In possession of: the author: Canterbury.

Figure. 22. Bansal,P. (2023) Script writing in the classroom [Photograph series] In possession of: the author: Canterbury.

Figure. 5,2. Bansal,P. (2023) Streets of London [Photograph series] In possession of: the author: Canterbury.

Figure. 23. Bansal,P. (2023) Visit to London [Collage] In possession of: the author: Canterbury.

Figure. 5.3. Bansal,P. (2023) Streets of London [Photograph series] In possession of: the author: Canterbury.

Figure. 24. Bansal,P. (2023) I am giving presentation in the classroom [Photograph series] In possession of: the author: Canterbury.

Figure. 5.4. Bansal,P. (2023) London eye, London [Photograph series] In possession of: the author: Canterbury.

Figure. 6.1. (2006) Present day Aircraft Aviation Photo #1164518: Airbus A340-541 - Etihad Airways (s.d.) At: https://www.airliners.net/photo/Etihad-Airways/AirbusA340-541/1164518/L?sid=94372084d53f1e569dff5d6ccfc830b1 (Accessed 22/05/2023).

Figure. 25.1, 25.2. Bansal,P. (2023) Movie making process [Photograph series] In possession of: the author: Canterbury.

Figure. 26.1, 26.2. Bansal,P. (2023) Recording rendering process [Photograph series] In possession of: the author: Canterbury.

Figure. 27.1. Bansal,P. (2023) Brainstorming on paper [Sketch] In possession of: the author: Canterbury.

Figure. 6.2. (2019) Present day Aircraft Whitley, A. and Gross, S. (2019) Basic current day aircraft. At: https://www.mysanantonio.com/business/article/Airlines-ArePacking-In-More-Passengers-Than-14144844.php (Accessed 22/05/2023).

Figure. 27.2. Razan,A. (2023) Brainstorming on paper [Sketch] In possession of: the author: Canterbury.

Figure. 6.3. (2015) Present day Aircraft Thompson, N. (2015) Air Canada puts new Premium Economy seats on Heathrow-Vancouver https://www.mirror.co.uk/incoming/new-premium-economy-seats-go-5523415 (Accessed 22/05/2023).

Figure. 29. Bansal,P. (2023) Captures' while filming the movie [Photograph series - Collage] In possession of: the author: Canterbury.

route.

At:

Fig. 7. (2023) Mental health statistics Yates, O. (s.d.) Mental health statistics. At: https://championhealth.co.uk/insights/mental-health-awareness-week/ (Accessed 22/05/2023).

Fig. 8. (2022) Dark & dystopian World Dark & dystopian world (s.d.) At: https://in.pinterest.com/pin/640777853256909147/ (Accessed 22/05/2023).

Fig.9. (2022) Depressed lady Sad lady (s.d.) At: https://in.pinterest.com/pin/45950858692006877/ (Accessed 22/05/2023).

Figure. 28. Bansal,P. (2023) 2D CAD drawing of the Aircraft [AutoCAD screenshot] In possession of: the author: Canterbury.

Figure. 30. Bansal,P. (2023) My working in different locations and software [Photograph series - Collage ] In possession of: the author: Canterbury.

Figure. 31.1. (2007) Inside the London eye Thorolfsson, I. and Thorolfsson, B. I. (s.d.) Inside the London Eye. At: https://www.flickr.com/photos/ivarth/1679599050/ (Accessed 22/05/2023).

Figure. 31.2. (2019) Inside the London eye VIP Summer Solstice sleepover alert!

(Accessed 22/05/2023).

(2019)

At:

https://www.londoneye.com/our-company/news/vip-summer-solstice-sleepover-alert/

Figure. 32. Bansal,P. (2023) Rendered Spa area [Render Image] In possession of: the author: Canterbury.

Fig.10. (2022) Apocalyptic City Street Apocalyptic City Street (s.d.) At: https://in.pinterest.com/pin/4151824641935734/ (Accessed 22/05/2023).

Figure. 33. Bansal,P. (2023) Rendered Spa Dome [Render Image] In possession of: the author: Canterbury.

Fig.11. (2015) When depression Hits When depression hits (2015) At: https://www.huffingtonpost.co.uk/2015/03/05/12-issues-facing-women-feminismsexism_n_6760390.html (Accessed 22/05/2023).

Figure. 34. (2020) Van Gogh immersive experience Accioly, J. (2020) 'Van gogh immersive experience' In: The Art Newspaper 20/11/2020 At: https://www.theartnewspaper.com/2020/11/20/visitors-can-step-into-van-goghs-swirling-landscapes-at-floridas-dali-museum (Accessed 22/05/2023).

Fig.12. (2022) Futuristic Aircraft exterior Quick, D. (2022) Futuristic Aircraft exterior. At: https://newatlas.com/aircraft/sky-sailing-helium-air-yacht-lazzarini-designconcept/ (Accessed 22/05/2023).

Figure. 35. Bansal,P. (2023) Artwork in Gazelli Art house, London [Photograph series] In possession of: the author: Canterbury.

Fig.13. (2022) Relaxing spa treatment Relaxing Spa stays and pro spa treatments (s.d.) At: https://comwell.com/en/hoteller/comwell-hotel-borupgaard/spa-saunagusborupgaard (Accessed 22/05/2023).

Figure. 37. Bansal,P. (2023) Rendered Van Gogh immersive walls [Render Image] In possession of: the author: Canterbury

Figure. 36. Bansal,P. (2023) Rendered Air Reception [Render Image] In possession of: the author: Canterbury

Figure. 38. Bansal,P. (2023) Light installations, David Zwerner show, London [Photograph series] In possession of: the author: Canterbury.

Figure. 39. Bansal,P. (2023) Rendered Airplane cabin interior, color scheme 1 [Render Image] In possession of: the author: Canterbury.

Figure. 40. Bansal,P. (2023) Rendered Airplane cabin interior, color scheme 2 [Render Image] In possession of: the author: Canterbury.

Figure. 41.1. Bansal,P. (2023) Rendered Air reception, Water color [Render Image] In possession of: the author: Canterbury.

Figure. 41.2. Bansal,P. (2023) Rendered Air reception, Water color [Render Image] In possession of: the author: Canterbury.

Figure. 42.1. Bansal,P. (2023) Rendered Air reception, Realistic [Render Image] In possession of: the author: Canterbury.

Figure. 42.2. Bansal,P. (2023) Rendered Air reception, Realistic [Render Image] In possession of: the author: Canterbury.

Figure. 43. Bansal,P. (2023) Rendered Spa dome room, Water color [Render Image] In possession of: the author: Canterbury.

Figure. 44. (2016) Still from the Film "ELYSIUM" Still from the Film ‘ELYSIUM’ (s.d.) At: https://www.pinterest.ca/pin/171488698286068841/ (Accessed 22/05/2023).

Figure. 45. (2013) Still from the Film "HER" Meet The Real World Designers Behind The Fictional Video Games Of ‘Her’ (s.d.) At: https://www.pinterest.ca/pin/171488698286068841/ (Accessed 22/05/2023).

Figure. 46. (1889) Vincent van Gogh, The Starry Night, oil on canvas VINCENT VAN GOGH STARRY NIGHT AND THE MEUSEUM (s.d.) At: https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/van-gogh-the-starry-night (Accessed 22/05/2023).

Figure. 47. (1889) Saint-Paul-de-Mausole near Saint-Rémy, France VINCENT VAN GOGH STARRY NIGHT AND THE MEUSEUM (s.d.) At: https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/van-gogh-the-starry-night (Accessed 22/05/2023).

Figure. 48.1. Bansal,P. (2023) Team member Srushti [Photograph series] In possession of: the author: Canterbury.

Figure. 48.2. Bansal,P. (2023) Team member Pallavi [Photograph series] In possession of: the author: Canterbury.

Figure. 48.3. Bansal,P. (2023) Team member Umar [Photograph series] In possession of: the author: Canterbury.

Figure. 48.4. Bansal,P. (2023) Team member Razan [Photograph series] In possession of: the author: Canterbury.

Figure. 49. Bansal,P. (2023) Connection between the spirits, Still from - A Utopic Journey [Movie : A Eutopic Journey] In possession of: the author: Canterbury.

Figure. 50. Bansal,P. (2023) Perspective exchange, Still from - A Utopic Journey [Movie : A Eutopic Journey] In possession of: the author: Canterbury.

Figure. 51. Bansal,P. (2023) Welcoming to the Aircraft, Still from - A Utopic Journey [Movie : A Eutopic Journey] In possession of: the author: Canterbury.

Figure. 52. Bansal,P. (2023) Rendered Spa dome room. [Render Image] In possession of: the author: Canterbury.

Figure.53. Bansal,P. (2023) West Gate gardens, Canterbury, Still from Movie editing process [iMovie screenshot] In possession of: the author: Canterbury.

Figure.54. Bansal,P. (2023) Screenshot and the process, Movie uploading on Youtube [Webpage Screenshot] In possession of: the author: Canterbury.

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