S: What we've been working on is exploring other types of media and what we've realized with architecture is that each type of media has its own specifics and biases. So how do you take all those different types of media with those biases and use those to construct the right narrative for each specific project.
S: we've been tracking different types. starting with the basic architectural orthographic and the typical diagrams, renderings, drawings. What we've moved onto is inserting the idea of time, more video aspects. We wanted to talk to you about your process. Earlier you had mentioned this layer of sound and how that relates to video, so if you could tell us more about that, about your process and why you got into film.
S: Do you, when you approach a project, do you talk a lot with the architect beforehand about what shots they want, or do you go in unbiased and just feel out how you want the story to go? How does that work?
S: How do you incorporate audio? We saw both examples where you incorporate more of the surrounding audio but there's also ones where you composed something based on the shots. What's that process?
V: When do you think the shifts happened, when you realized you wanted to focus more on video in terms of representing architecture? How did that come about? Did you start as a photographer then slowly transition to a videographer?
V: It's definitely more poetic.
V: In terms of getting projects, on how do you approach architects or how did they approach you. Do you have a very specific type of project that you look for?
V: I'm interested in hearing your process on how you approach a building as you talked about it. There's different scales. How do you start? A client gives you a project, "take a video of this." How do you approach it? What's your process from beginning to end?
V: What two lenses do you use?
V: Do you use AfterEffects?
S: Your video for the auditorium. That one was different because you didn't necessarily show a lot of the architecture, but it was more the experience you would on the day of a show. It builds up to the applause moment. Can you talk about that? How did you decide to not only focus the architecture but more so on the experience?
S: I think that this one in particular crafted this whole other narrative that the building becomes a part of versus it just being about the building. So I really appreciated that because that's what we're looking for, is how do you really craft not only the story about the architecture but then how the architecture becomes part of the story.
V: I have to check out this video.
S: So the way you're filming it really reflects the idea or the concept of the architecture.
S: In architecture there can be one big gesture for a project. Do you find that you're able to replicate that in some way through film more easily than photography or a rendering or another type of media? Similar to the swooping or falcon idea?
S/V: Thank you for taking the time. This was really quick.
S: We're not sure yet. We've decided that we've selected one MH project, have you been to the Fisher Pavilion at the Seattle Center?
S: It's a building that's set into the landscape, so then the landscape comes around it. There's a large lawn in front. What happens is this building is a big event space, but in reality it's closed most of the year and only open for specific events. So it's become an anti-building and a backdrop for activities to happen all around. We've chosen it as our testing project, to test all these different types of media to find the right one.
S: Right. The appropriate ones to convey the idea of this anti building. Our first exploration into that was how do we take an existing drawing or elevation and we went back to the site and we filmed the elevation. And projected it over the elevation, so really becoming a backdrop. An honest representation of what actually happens year-round, versus our renderings are always more idealistic. We wanted to represent it in this honest but still poetic and fitting way for the project. Our next explorations is through written descriptions, so using text to not only the words that we're saying, but also how we're presenting the text to reflect the anti-building.
S: It was also a reaction to a lot of digital renderings today, they're just shifting more towards the hyper-realistic and just conveying one solution, or one identity whereas representation, the beauty of it is that it's limitless in terms of what you can say or communicate. So how can we really use that to our advantage and the project's advantage?
V: That's the goal, to have all these different representations of Fisher Pavilion next to each other and how it shows a whole story of a building.
S: The goal is to not make a graphic standard, but more of a kit of parts. This representation method is great for x, y & z versus this one can better communicate this. How do you make a better decision about taking some of these and combining them together to craft that into a more complete narrative.
S/V: Yes, that is us.This year.
S: One project per year. We submitted last year and then they decide of February of this year who gets the grant. So we'll be presenting everything we've done at the end of the year to the office.
V: It's a lot of work…
S: It's great to talk to you. You've been focusing on just film and audio, so it's nice to hear from an expert about just one type of media and the pros and cons, and what we can accomplish from film that we can't get from a still photograph.
V: You'll hear from us.