I was inspired by Sergei Eisenstein’s system of successively enlarging shots. In his example with the Yermolova painting, he explained how the straight lines in the painting function simultaneously as the edges of individual film shots. He outlined four shots: 1 – full-length (from above), 2 – figure from the knees up (head-on), 3 – waist-length (slightly from below), and 4 – close-up (from below). His explanation of how these montage sequences give a sense of both movement and conflict particularly resonated with me and inspired me to apply this process to Grace Farms.
I immediately noticed how there are natural tangent lines which separate various sections of the building in addition to the incline which the building rests upon. I found that it made sense to apply this concept to Grace Farms because of these factors. In my diagram, I replicated Eisenstein’s process, however mine has six frames (A-F) instead of four (A-D). A is from above, B is slightly from above, C is almost head-on, D is head-on, E is slightly from below, and F is from below. I then translated this into six diagrams which show each individual frame (in isometric).
Revised Eisenman Diagrams
I made a few changes after the meeting on Wednesday including: editing the walls to make sure they follow the angles in top-view and adding “ghosted” dashed lines to show the lines from the top view which the walls, columns, and floors are based on. I included these ghosted lines in the fourth columns in both diagrams.
