ADG Perspective

January-February 2018

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For Ngoc's apartment block, a spectacular interior of an abandoned full-size office trailer was built. The concept was that a developer had transformed the trailer into a housing project for downsized people. This is the set where I focused a bit more on highlighting the small-world environment through oversized elements. Big-scale plywood, big fluorescent lights, homes made out of pieces of big- people garbage. The set was built in one of North America's largest soundstages. Once the steel frames for all of the catwalks were built, the entire set was wallpapered in oversized wood grain that was printed on canvas. The large-scale flat screen was built from sixty panels of 8mm LED screens, which allowed practical playback while shooting. The TV served as the primary means of entertainment (and a light source) for the tenants of Alondra. Designing Alondra was exciting. Despite its misfortune, this seemingly hopeless community had so much more love and compassion than the more selfish and exclusive one in the affluent center of town. I wanted to reflect its beauty by infusing the vibrant details of life into every home on every floor, every store, every courtyard and every shared space. The adventure was not over. Norway was waiting. I went to Norway a year before, before the snow, to scout for a perfect place to set our original community and to research the core of the idea. The Norwegian village was built in an abandoned quarry outside Toronto. It had a wonderful artificial lake, blue like the northern water because the sand was from mountain slate. Once again, I opted for a lack of details. I wanted to make those homes look like toy houses. I took the most A. Concept illustration of the port in Norway by Bartol Rendulic. B. Concept illustration of the Norwegian village by Bartol Rendulic. C. Norwegian village under construction on a man-made lake outside Toronto. D. Final set photo of our Norwegian village. Photo by Stefania Cella B A

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