Ersilia - nice choice - such an evocative, improbably place, and I'd say right now that choosing the inside of someone's house for your interior does seem like a bit of a wasted opportunity; if you think about all the sorts of spaces and places that might credibly contribute to a metropolis, choosing a small, domestic interior seems a bit of a cop-out. If you want to start thinking excitingly about possibilities for other kinds of spaces, start asking yourself some more interesting questions about this city: if it's truly too congested to get around on account of all the strings, how have its inhabitants adapted to living there? What modes of transport might they come up with (cable-cars/zip-wires/tight-rope walking?!). What is the power-source for this city - are the strings somehow involved? I'd rather see a cg artist/designer tackle the interior of Ersilia's cable-car depot/station/terminal (for example) than depict someone's front room! To me, that's like taking someone to Mars, and then spending the entire time in the hotel room...
While I like the idea of the futuristic city having light beams/projections, I wonder if this is too much of a departure? That said, if you were to argue that Ersilia is a city that has been choked by fibre optics (i.e. choked by internet connections), you could have your futuristic setting - i.e. that the first city became over-run by internet connections, so the populace moved on, but they're all currently in the business of ruining the second city for the same reason. The idea of city after city being rendered uninhabitable by the population's reliance on data transfer/communication makes for a fascinating - and rather depressing visual image. I don't see the value in having the cities made so separate in terms of age and design that the fate of the ruined cities seems so separate from the likely fate of the most recent city; a few visual references for you:
What's not clear yet either is some kind of definitive idea as to from what visual concept your actual architecture might derive - i.e. why your buildings etc. look the way they do - and for what reason. When creating cities, it's very easy to fall into just drawing generic cities, so I'm suggesting people look to their visual concept for the answer; for example, let's imagine that you go with the idea of your city being a) futuristic and b) choked by 'strings of communication' - perhaps, if you were looking for forms from which to derive your city's architecture, you might decide to look at imagery like this:
I think you're onto something with your futurist setting and 'strings' as light beams, but I also think you need to think much more imaginatively about what this futuristic setting actually means for you in terms of design.
OGR 09/10/2014
ReplyDeleteHey Kayliegh,
Ersilia - nice choice - such an evocative, improbably place, and I'd say right now that choosing the inside of someone's house for your interior does seem like a bit of a wasted opportunity; if you think about all the sorts of spaces and places that might credibly contribute to a metropolis, choosing a small, domestic interior seems a bit of a cop-out. If you want to start thinking excitingly about possibilities for other kinds of spaces, start asking yourself some more interesting questions about this city: if it's truly too congested to get around on account of all the strings, how have its inhabitants adapted to living there? What modes of transport might they come up with (cable-cars/zip-wires/tight-rope walking?!). What is the power-source for this city - are the strings somehow involved? I'd rather see a cg artist/designer tackle the interior of Ersilia's cable-car depot/station/terminal (for example) than depict someone's front room! To me, that's like taking someone to Mars, and then spending the entire time in the hotel room...
While I like the idea of the futuristic city having light beams/projections, I wonder if this is too much of a departure? That said, if you were to argue that Ersilia is a city that has been choked by fibre optics (i.e. choked by internet connections), you could have your futuristic setting - i.e. that the first city became over-run by internet connections, so the populace moved on, but they're all currently in the business of ruining the second city for the same reason. The idea of city after city being rendered uninhabitable by the population's reliance on data transfer/communication makes for a fascinating - and rather depressing visual image. I don't see the value in having the cities made so separate in terms of age and design that the fate of the ruined cities seems so separate from the likely fate of the most recent city; a few visual references for you:
http://www.computing.co.uk/IMG/018/176018/fibre-optic-cable.jpg
http://www.seanelec.co.tz/wp-content/uploads/Fibre-Optic-Cable.jpg
http://expertnetworker.net/wp-content/uploads/2012/01/socialmedia.jpg
http://www.cellbiol.com/bioinformatics_web_development/lib/exe/fetch.php/chapter_1_-_internet_networks_and_tcp-ip/internet1.jpeg
What's not clear yet either is some kind of definitive idea as to from what visual concept your actual architecture might derive - i.e. why your buildings etc. look the way they do - and for what reason. When creating cities, it's very easy to fall into just drawing generic cities, so I'm suggesting people look to their visual concept for the answer; for example, let's imagine that you go with the idea of your city being a) futuristic and b) choked by 'strings of communication' - perhaps, if you were looking for forms from which to derive your city's architecture, you might decide to look at imagery like this:
http://img.diytrade.com/cdimg/901993/8660359/0/1239603337/computer_motherboard.jpg
http://www.technovenom.com/wp-content/uploads/2014/08/Computer-chip-via-Shutterstock.jpg
http://www.hosting.net/wp-content/uploads/2010/08/computer-chip.jpg
I think you're onto something with your futurist setting and 'strings' as light beams, but I also think you need to think much more imaginatively about what this futuristic setting actually means for you in terms of design.