Tag Archives: Architecture

Making of Frame Magazine Covers with Thomas Brown and Andrew Stellitano

Frame Magazine assigned photographer Thomas Brown and set designer Andrew Stellitano to create visual interpretations of four themes for their four latest issues – they always work in series for their covers, which they treat as an art project in themselves.

This way of working was an ideal fit for Thomas and Andrew, who enjoy the process of creating a thematically coherent series with colour and abstraction as the central concepts. The only stipulation that Frame made was that the images should be colourful, and there should be an environmental, spatial feel to the images, with architectural depth.

Having worked often together before, they took the initial proposal as a framework but built on it as the work progressed.

One of the most enjoyable parts of this project was the discovery of new ideas to try, as they arose from the initial concepts. It wasn’t all chin-stroking….there was a lot of laughter along the way, as these behind the scenes photos show – enjoy!

 

Nº 1 of 4: Doubt.

This was inspired by the idea of image as deceptions – thinking about the current geopolitical situation, fake news, the difficulty of knowing what is actually real.

“For the cover of this issue, we created a spatial experience that is all in the mind. The world seems to have flipped on its head, and nothing is as it seems. A tunnel that extends off into the distance is, on close examination, made out of a modular toolkit of materials”  — Thomas Brown and  Andrew Stellitano 

‘Using wood, paper, watercolour, acrylic, glass, organic materials and glycerine, …[they] built a multilayered world that hovers between fantasy and reality. Aptly titled Doubt, it’s their first cover in a series of four’

—  Frame Magazine

Nº 2 of 4: Ephemeral.

Exploring the idea of temporality and events such as fashion shows that are hugely involved but fleeting. Flashes in eight different colours captured blocks falling around the static forms.

“Inspired by the speed at which the world is changing, we wanted to create a sculpture that is more than the sum of its parts and that can be captured only as a photograph. With our camera, we compress time.” — Thomas Brown and  Andrew Stellitano 

 

“Using stroboscopic lighting in combination with long time exposures the photographer captured moving elements around a static object, creating a feeling of impermanence.” —  Frame Magazine

Nº 3 of 4: Environment.

Here, the duo considered the enviroment in conjunction with illusion and image-making. It’s full of opposites – bringing the outside inside, gravity defying rocks, objectifying the natural and slicing the outside into contained bars in the background.

“We were inspired by a Diane Arbus photograph taken behind the scenes at Disneyland. The image shows huge boulders on wheels against the vast Californian landscape – an artificial backdrop at second sight. It’s a spellbinding scene that puts our expectation of reality into flux. ” — Thomas Brown and  Andrew Stellitano 

 

 

“An outdoor environment that doesn’t play by the normal rules of physics. Rocks become easily transportable objects, and panels function as portals to an alternate reality” —  Frame Magazine

 

Nº 4 of 4: Food.

For the final image, they chose the theme of food. Though it’s ubiquitous, it’s not often an environmental element. The can is revolutionary – its invention changed our relationship to food completely. Its reminiscent of a bitmap, modular, reactive with its simple silver surface which both renders it invisible and responds to the environment around it with reflection and distortion. The shallow water below joins the elements by rising to the right height to make the cans appear to unite, and the projection of Kyoto adds yet another layer of texture and colour.

Shallow water was just below to join elements

“Photography can be a wasteful business, but the contents of all the cans on this issue’s cover were either donated to food banks or turned into amazing corn bread, corn curry and corn fritters. We never want to eat corn again”

— Thomas Brown and  Andrew Stellitano 

“To round off their series of four covers, designed to explore materiality and space [they] … chose food packaging as their medium. Stacked to form primary shapes, the tins create an intriguing landscape.” —  Frame Magazine

Client: Frame Magazine
Photographer: Thomas Brown
Art Direction: Studio&
Set Designer: Stellitano Studio
Post Artist: Aljaz Bezjak / Recom Farmhouse London
Photographer Agent: Webber Represents

 You can also see the final images without the magazine type on our website and on Behance

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More work at recomfarmhouse.com.

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Photographer: Clemens Ascher CGI Artists: Kristian Turner, Anna Toropova Post Artists: Pepe Alram, Aljaz Bezjak Stylist: Alice Whiting Make-up: Amy Conley Hair: Brooke Neilson

Making “Of Rainbows And Other Monuments” with Clemens Ascher

Clemens Ascher dreamt up “this surrealistic and graphic world featuring mysterious monuments, the legendary Ferrari Rainbow and its furious drivers” – a minimalistic and metaphysical series in three subtly muted primary colours.

The ultra-distinctive stylings of Bertone cars are epitomised by the angular Ferrari Rainbow. This astonishing wedge-shaped concept car from 1976 never went into production and the prototype remains concealed in Bertone’s private collection.

Photos by Rainer Schlegelmilch and story on this largely forgotten legend here:
https://www.classicdriver.com/en/article/cars/classic-concepts-1976-ferrari-rainbow

Through CGI we set out to bring it into a uniquely imagined world. Clemens began by sketching  a deceptively simple series of shapes, exploring balance, colour and volume.

In the Recom Farmhouse London studio, we took Clemens’ initial sketches and began to work with them in CGI, turning the blocked volumes into architectural elements and experimenting with the placement of the car.

Gathering references for the concrete and asphalt. We spent time observing how the materials age, plants, water, sand and other natural forces work on the angular forms of buildings.

.Collaboratively, we created the monuments, making the abstract shapes work intriguingly but believably together. And we incorporated some pre-shot elements from Clemens – for instance, skies and figures.

Working closely at every stage with the photographer, we created the perfect setting and mood for this mysterious supercar. See how the yellow image was built up in this video:

View the rest of the series here

Photographer: Clemens Ascher
Stylist: Alice Whiting
Model: Jacopo Ugolini
Make-up Artist: Amy Conley
Hair Stylist: Brooke Neilson and Craig McAtear

CGI Artists: Kristian Turner, Anna Toporova / Recom Farmhouse
Retouching: Aljaz Bezyak, Pêpe Alram / Recom Farmhouse

Mercedes Benz with Nadav Kander

On Location: Mercedes E-Class with Nadav Kander

The Mercedes E-Class with Nadav Kander for Antoni  – a fascinating project creating an extraordinary car campaign. Strong lines, clear colours and striking textures combine with abstract architecture, surreal volcanic landscapes and of course the sleek refined lines of the flagship convertible.

The concepts contained angular modern architectural elements, contrasting beautifully with rough organic texture of the volcanic rock. Initially the idea was to have a modular set built that could be moved around the platform. However, this had a number of logistical and timing difficulties and so our Berlin team offered to create the elements in CGI instead. We were able to work directly with the art director in the studio to experiment with the utmost flexibility. In this way, we could perfect the shape and angles to match the layouts perfectly before the shoot began, whilst adhering to Nadav Kander’s input of keeping everything as simple as possible.

Testing the layouts and trialling different options:

Scene overview in CGI

 

With the angles confirmed, the shoot began.

Fresh from his fascinating portrait of Donald Trump for Time Magazine’s Person of the Year cover, the Nadav Kander flew to Lanzarote to shoot backplates and HDR spheres.

Scouting for the perfect locations for HDR spheres in the volcanic island landscapes:

shooting an example HDR Sphere from Lanzarote

After Lanzarote, we took more backplates at this spectacular location on the Spanish coast. This was the view from the infinity pool – if you squint, you can just see Africa.

The crew assemble…

Only the topmost graduates of The Handsome Boy Modelling School can throw a towel off and jump in the pool with such verve and élan…

Perfect dive!

perfect dive

Our own modelling efforts are less professional.

Still, everyone looks better with a giant yellow head. You can just see the base of the cherrypicker beside the pool, to take the shot from a direct birds-eye view.

High up above in the cherrypicker

Up in the sky for the perfect angle

 

The Recom poolside cabana is fully equipped! Processing and checking everything will fit together perfectly.

As the car was top secret at the time,  it couldn’t be photographed on location, and was shot at a secret platform on a closed set with high security.  We lived for a few days in a gilded cage, not leaving the hotel with its three shooting platforms.

This was our work view for the week! We have to confess we much preferred the pool….

Super Secret Location

Once the car and backplates were safely captured, we began work on putting together the images. We set the car seamlessly in the volcanic landscapes, and refined the textures and shapes of the CGI architecture.

The results form a uniquely stylish car campaign – Check out the rest of this elegant series on our site.

Mercedes with Nadav Kander

Credits:

Client: Mercedes
Agency: Antoni
Photographer: Nadav Kander
Creative Director: Tillmann Gossner
Art Director: Patricia Scheder
Art Buyer: Valerie Opitz
Production: Seaquist
Representation: Olivia Gideon Thompson at We Folk
CGI Artists: Sebastian Schierwater / Recom Berlin
Post Artists: Jonathan Clarke, Jonas Disch, Stephanie O’Connor, Jonas Braukmann / Recom Berlin

Making of: Lamborghini Aventador with Marc Trautmann

Marc Trautmann came to us with an idea for a creative collaboration between CGI, photography, and architecture. The astonishing sculpted form of the Lamborghini Aventador would be set in deconstructed architectural elements, inspired by Daniel Libeskind, with both the car and the setting realised entirely in CGI.

“The concept of the personal CGI work was to create power and dynamics by dissolving conventional spatial structures.”

We loved the idea of creating an environment that would mesh perfectly with the extravagantly powerful style of the car, the challenge of making such an impossible setting look believable, and of course the collaboration between three creative disciplines.

1.Sketching out ideas

The first stage is to sketch out the initial concepts – no matter how technological the execution, there’s still nothing like breaking out the sharpies and sketchpads for free experimentation and collaboration in the early stages.

Initial sketches

 

2. Moodboard: structure, architecture, light.

When we are planning a deconstructed architectural enviroment, it’s vital to find reference for the elements so that they are completely convincing. We looked for abstract shattered planes and shards to inspire ideas, but also for reference of how light would move and react between the shapes. And we sought out architecture – both imagined and built – that was close to our vision, to see how it is structured in reality.

Moodboard_architecture and structure

3. Architectural session 

Marc worked with Franken Architekten to construct and then deconstruct a setting around the car. Originally created in architectural CAD, they were exported as .dwg files for us to work with in Maya.

1511_150407_MTR Aventador_Top 1511_150407_MTR Aventador

1511_150407_MTR Aventador_Perspective_01

4. Initial tests with the car

Once the initial concept is drafted, we began to refine the ideas in Maya. We experimented with different directions and angles and light sources within the architectural setting.

Aventador16_f78_30mm_03AT_AO-Occlusion

Aventador_03_KTT_f78 Aventador_03_KTT_f34

Once we were happy with the angles and the placement of the car, we crafted preliminary passes on lighting and mood.

_0005_Aventador_01_KTT_masterLayer_c4.exr

Aventador_09_KTT_masterLayer

5. Materials.

The next stage is to look in detail at the textures of concrete, steel and glass – once again, we make moodboards of real-world examples.

Moodboard 2 - Materials

For the detailed observations to make the renders perfectly convincing, we used material references from Marc Trautmann – the concrete floor of his studio had the perfect worn industrial texture we were after.

FullSizeRender

With the textures in place, we worked with Marc in developing the background further. Together, we sketched out where texture and lighting should be refined and perfected.

Untitled-2

Aventador_10_KTT_amendments

6. Last adjustments
We tested colour and mood  variants, fine-tuning the lighting and perfecting the dynamism and balance between the structures of the car and of the deconstructed setting. High resolution rendering in Vray shows how the details are coming together here.

Aventador16_12_KTT

Aventador16_13_KTT

7. The final artwork – three images of an extraordinary car in an extraordinary space.

Concept & Creative Director: Marc Trautmann Architecture: Franken Architelten CGI Artists: Kristian Turner, Anna Toropova / Recom Farmhouse Post Artists: Kate Brown, Riikka Eiro / Recom Farmhouse

Concept & Creative Director: Marc Trautmann Architecture: Franken Architelten CGI Artists: Kristian Turner, Anna Toropova / Recom Farmhouse Post Artists: Kate Brown, Riikka Eiro / Recom Farmhouse

Concept & Creative Director: Marc Trautmann Architecture: Franken Architelten CGI Artists: Kristian Turner, Anna Toropova / Recom Farmhouse Post Artists: Kate Brown, Riikka Eiro / Recom Farmhouse

Fly through the modelling and see how we built up the image, in our behind the scenes movie here!

See the full series on our site here

Concept & Creative Director: Marc Trautmann at Schierke
Architecture: Franken Architekten
CGI Artists: Kristian Turner, Anna Toropova / Recom Farmhouse
Post Artists: Kate Brown, Riikka Eiro / Recom Farmhouse

Cyan II by Øystein Sture Aspelund

Stuff we like: Bright geometry in modern architecture

It’s always amazing when someone shows us a new idea in architectural photography.

Norwegian photographer Øystein Sture Aspelund‘s vision of modernist architecture focuses in on details and textures of modern masterpieces, found by searching through Brasilia, Sao Paulo, rural Bulgaria, Valencia, Bratislava and the Italian coast. Infusing them with strong yet delicate tints of sunsets, cyan and rose, the sweeping and beautiful lines are reminiscent of a new colony on another world.

Your imagination can fill in the rest from these precisely observed details….

Cyan II by Øystein Sture Aspelund Cyan II by Øystein Sture Aspelund Cyan II by Øystein Sture Aspelund Cyan II by Øystein Sture Aspelund Cyan II by Øystein Sture Aspelund Cyan II by Øystein Sture Aspelund

Cyan II by Øystein Sture Aspelund Cyan II by Øystein Sture Aspelund Cyan II by Øystein Sture Aspelund

All photos © Øystein Sture Aspelund
More work  at http://oysteinaspelund.com
The full series is also available for your appreciation on Behance.

Making of : IN THE GARDEN by Clemens Ascher

RecomFarmhouse_Ascher-3

Clemens Ascher’s latest series “IN THE GARDEN” depicts scenes from an indoor garden complex.
The world he represents appears to be entirely artificial, a plastic utopia carefully designed to deliver happiness and comfort to its inhabitants. The bright and saturated colours in these pictures are seemingly trying to compensate for the void in which these people live.

We have helped our friend Clemens in constructing this dystopian vision by adding some CG elements to his pictures. Together we discussed the set prior to his shoot and we came to the conclusion that models, plastic plants, carpets and placeholders for walls were going to be photographed, whilst windows, final walls and all other architectural elements would be created in CG.

Photographer: Clemens Ascher Fashion Stylist: Alice Whiting

Hair Stylist: Craig McAtear CGI Director: Kristian Turner / Recom Farmhouse 
CGI Artist:  Florian Einfalt / Recom Farmhouse Post Artist: Pepe Alram, Kate Brown, Andrea Tosello / Recom Farmhouse

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Renault site specific campaign for Düsseldorf Airport

Megaposter_Nr.65_OMG_Renault (15)_CHR-1

For this site-specific project we were asked by creative director Felipe Nunes Franco to visualise a Renault car breaking through the glass facade of Düsseldorf airport.

Excited by the idea of producing an artwork for a site specific project, a member of our Stuttgart team drove to Düsseldorf for a day to take reference pictures of the actual facade together with the exact measurements of the glass panels. In fact we had to accurately reproduce those dimensions in CG so that the billboard could exactly substitute and replicate the covered area with the car breaking through it.

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Making of : Porsche Cayman by Thomas Strogalski

Recom Farmhouse-4

When we work on automotive images, we are usually asked to render cars into a photographic environment, but with the new Porsche Cayman GT4 it was exactly the opposite: Thomas Strogalski photographed a real car while the location was virtually created by our talented artists in Stuttgart.

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Making of : Ford Explorer

Shot by photographer David Westphal, this production of images is another fine example of how realistic CG images can look! Our New York team traveled with David to the amazing forests, parks and beaches near Portland, Oregon. Our team provided both on-set retouching and pre-visualisation to allow everyone to see the car in situ and decide on the angles.

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Making of : Recom / Schnabel / Evers

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We always try to squeeze in personal projects between one commission and the next. When doing them we loveto collaborate, especially with photographers! So when Thorsten at Recom thought to build some stunning CG architecture with a CG car, he contacted photographer and mountain lover Michael Schnabel together with architect Fabian Evers. Excited by the idea, they began to look for a spectacular location in the mountains where it would be possible to virtually build the imaginary home of a car obsessed art collector. After viewing and scanning the mountainous landscape via satellite imagery, they travelled to the San Bernardino Pass in the Swiss Alps, located only a few hours away from our Stuttgart studio.

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