Utility. Accessibility. Context. Interactions. All of these are elements that designers use as templates in order to design a place out of a space. But on closer observation, it becomes evident that these form only the upper tier in a two-tier process of such a transformation occurring. What’s underneath –  leading this process, shaping this process, enabling and catalyzing this process- is Memory. Useful spaces become places only because they are used more often, and the usefulness catalyses the forming of memories, which in turn catalyses the place-character of the space. Places which enable interactions, which are accessible, other places which have context for visit- all of these elements of the places work only to catalyze this very formation of memories- The lower tier.
This animation intends to observe this lower tier through the goings-on of Church Street, to document these happenings and to understand better how memories manifest themselves on this stretch, and how these memories in turn lead to the manifestation of a place, leading to an understanding of how Church Street gets its metaphysical identity in the minds of the residents of Bangalore. It is an effort to understand more intimately this process of formation of memories in a space, and to effectively communicate this very phenomenon.

My final work addresses scenes from Church Street, and analyses them to understand the formation of memories. For example, the scene where the workers are filling in garbage from the day, where I address how memories of a night on Church street are recorded and stored in the garbage from that nights, almost like a USB with storage. Or, literally, ‘left in heaps wherever you go’. Or, the scene in the bookstore in which I remove the book (The book is the textbook I had for 10th standard, which I happened to come across there) and the scene is almost an ode to the memories I had attached to the book, where one student from my board itself gave away the book after he/she was done with it, and how the memory has followed the book and I connect with it ages after.

Thus, these scenes have been analysed, their significance understood, then recorded and commmunicated.

This project is an ode to memories.

In this project, I saw an opportunity to spend a good amount of time studying animation, understanding it, exploring the medium and understanding its niches, and I took it. This led to carving out a a free and unblemished understanding of the medium myself, and use it however I wanted to use it, instead of following pre-established conventions.

Another aspect of design I I learnt about is using mindmaps to make connections more quickly, and get to the root of a phenomenon or an idea. To find out everything that runs the concept from behind the scenes, and to harness this information. It taught me how to think more clearly and in a more organized way, and how to bring that out in the project.
I also learnt how to work across not just software platforms, but also mediums. Videography was linked to poetry, which got stitched in with animation, using 3 different softwares. It taught me how to plan in order to pull off something like this; to get 3 disjoint mediums working in harmony to communicate one ideal.
I also realized specific aspects of animation as a medium, like how to control the dynamics  of action in the frame using the frame rate and learning how to slow down and hasten the action, the ways in which illustration style affects the overall feel of your animation, etc.

While I made mistakes I wish I had the time to rectify and improve, the medium itself is thoroughly embedded in my mind and waiting for me to develop the sense further.

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