26th June Tuesday
First morning after the café, we took the ferry to meet with our tutors where they welcomed us online. Then the conversation was followed by Han&Zeynep Tümertekin, discussing on the concept of the Free Space and how Turkish pavilion refers to it. Afterwards, the bienalle in Arsenale opened its doors to us… observing, touching, smelling, blowing, reading, dreaming, feeling, hating… It was like an experiential funfair made for architects. Exiting funfair, we found ourselves in the narrow streets of the Venice, until we find a space to discuss what our contribution will be to the funfair. The discussion was specifically on how we can combine ideas of the pre-workshop footages with the Venice shots. Hot weather heated our discussion, our brains expanded, all the theories exploded. Then we jumped back to the lagoons of Venice.
27th June Wednesday
On our day 2, we had our online meeting with our tutors, spent some time planning the progress of our work and then went to Giardini to finish visiting La Biennale di Venezia. We visited some parts as a group and some parts individually and arranged a meeting in the evening. We kept on discussing and arranged a shooting time. We took our equipment from Redentore and have done some shooting there until the sun went down. We had several useful footage and concluded the day with a nice dinner.
28th June Thursday
Our third day in Venice, we started talking with Ahmet Öğüt. He told us about his works based on our questions and some advices for the biennale. After Ahmet Öğüt session and lunch, we diveded in group of three as shooters, runners and editors. we were permitted to shoot in an interesting building with a spiral staircase so the shooting group spend all of their time shooting different angles. Editing group watched all footages and try to edit all of them in alternative ways. Also one of us try to make visual trick using effects.
29th June Friday
We arrived to the pavilion early in the morning to work and prepare a presentation for our tutors. We began to work also on the physical space along with the film space. We watched all of our footage together to discuss. Our tutors arrived at noon. We spent some time with them and then had two online meetings. The first one was with Ayse Senturer and the second one was with Gul Kacmaz Erk. With both of them, we had very productive and helpful discussions to shape our progress. We watched a couple of movies that Gul Kacmaz Erk presented to us. It was a nice opportunity to compare our ideas and products with other very successful ones. We spent the day working on our movie and our tent. We made some additional shootings to conclude.
30th June Saturday
Today, we shoot for missing parts of our work and at the same time started to edit in saperately. Some of people used the color material and made our tent red. Also drawings and lines play a part our exhibition area. We had to postpone digital round table with Arielle Assouline-Lichten & Caroline James. Finally, we combine all works.
1st July Sunday
In the morning we went to the pavillion and we continued to our project. Some of people continued to constract our tent with our material and some of people continued to edit the film. At 11 am we had a meeting with Özgür Çiçek. It was a very usefull session. After the meeting we work hard and try to finish our work. After checking all of things in our work area, we leaved biennalle for now 🙂
She have been conducting interdisciplinary research at the intersection of architecture and cinema in the USA, the Netherlands, Turkey, Ireland and the UK since 1994. She studies both architecture and film and creates an understanding about built environment and urban geographies via film making.
In her presentation we saw lots of examples of her previous students and we saw how those student used the cinematic tools to create the feeling of suspense. Which were very valuable for us since our workshop was about creating a Horror B Movie. She also widen our perspective about different elements such as sound, rhythm, narrative and even stop-motion.
Ayşe Şentürer is a professor in Istanbul Technical University. She focuses on many fields such as perception, representation, philosophy, metropolis, cinema, multi-media, complexity, urban reading, representation and design, experience.
In her session she told us about how cinematic tools are used for representing architecture with many examples and their representation techniques. She explained how motion could be expressed by the medium of image.
We had a discussion with Ahmet Öğüt about museums and biennials in relation with his work Fahrenheit 451: Reprinted which is a mobile instant printing work in partnership with Leevi Lehto (NTAMO). Project reverses the concept and brings forbidden books to people with the help of a fire engine and its crew. Ögüt has chosen a selection of books that have been banned on seemingly absurd or unexpected grounds. Participants can select a book of their choice and the fire crew will print a copy for them using equipment placed in their vehicle. We also talked about how he perceive the project and driving forces for project.
Öğüt also compared Venice, İstanbul and Berlin biennials. He defined Venice biennials as “Training military service for other biennials.”
He concluded the discussion by answering a question about how he choose his media medium in order to communicate and as a way of expression and mediums role in connecting people even they don’t have personal interest / collective interest. He added that personal priorities should not counteract the needs of the exhibition or the concept.
Han Tümertekin is an Aga Khan Award (2004) winning architect with several publications in international architectural journals, including Domus, Abitare, AV, Oris, Architectural Review, L’architecture d’Aujourd’hui, the World Atlas of Contemporary Architecture, and the Phaidon Atlas of 21st Century World Architecture. His well-known works include the award-winning B2 House in Ayvacık, Turkey. He founded his own firm, Mimarlar Tasarım Danışmanlık in 1986 and has done many project worldwide since. Now he is working with his daughter Zeynep Tümertekin who has previously worked with Eisenman Architects in New York.
There wasn’t a presentation about a specific subject but rather we talked about the biennale, its history, what it is for and whom and what it means. There was a discussion on what each country is trying to express in their pavilions in the age of globalization and the effects of the digital world. The overall idea was that even though the developing technologies allow us to experience the spaces through digital environments, the biennale should be experienced within the space indivıdually and physically. It is an experience of seeing, feeling, observing, understanding etc.
For Zeynep Tümertekin, who is a young architect raised in this digital globalized world, biennale is a space to be inspired and also to inspire. It should be a learning process. It should be accepted as an opportunity to understand architecture through many vıewpoints throughout the world.
Another discussion we had was the Turkey’s role and its approach. We don’t have a long going history in biennale so it was difficult to have a comparison but Han Tümertekin’s opinion on this year’s approach was that it is a risk of brilliance and significance that invites young architects to be a part of such an important organization. It is a collaborative, inspiring and inviting theme which reflects the soul of biennale itself.
There was a discussion about this year’s theme Free Space actually being the theme of the biennale itself since each time there are different installations usıng and filling the free space the biennale is offering. So the question was that can it be the subtheme of all.
In the end, it was a productive and thought provoking discussion that helped us to understand the essence of biennale. It is a tool for architects at any age to learn and get influenced.
RHYTHM for an emotional journey!
The declines (decrescendo) and inclines (crescendo) and breaks (stop, breath) are the elements of cinematic rhythm. The final patchwork of Third Shift is made up of fragments that connects with a rhythm through an emotional journey. Participants designed a movie fragment starting from before chase until getting away.
Video: Ana Laura Solano Rodriguez
MAKING OUR OWN STOCK FOOTAGE!
The Action, The Space, The Toolset
Following chart offers and exemplifies key titles and words for assembling the fundamentals of a film scene. However its aim is to grow with the contributions of the participants` chase scene ideas. A line in the table is a folder containing your movie fragments. Choose a cliché and shoot it.
Space Actor: Our main actor is not the red dressed victim it is space itself. Red dressed victim is like a trap to capture viewers interest and reorient it to (or re-realize) the architectural space.
Video: Nida Ekenel
PATCHWORK as a collective movie making method!
Third Shift offers a patchwork method for inventing, decomposing and reconstructing a Horror B-Movie fragment. Patchwork provides a base for scene analysis, and a strategy to reconstruct them systematically so that they can be recomposed together as one big narrative. During the pre-workshop phase of Third Shift participants produced as many fragments as possible, so during the pavilion phase they can focus on the content, form and montage of the final product.
Video: Hale Alp