MILENA: You have described the relationship between the camera frame and the architectural frame as “frame in frame”. This double frame mode of composition is complex but very sophisticated. As a architect and film producer, do you have any intention to arrange the camera frame when shooting the film Frame at Mirador Mansion? And from your perspective, what is the interesting part for you to observe an architecture through the camera frame? Is it different from observing with our own eyes? Thank you.
KENRICK: When I film or take photos, normally we will just focus on the rectangle frame and record. And that is it. Besides very rectangular view you find these days, it is not kind of a frame that you will record the things. I think of course the techniques will bond you to a certain shape when you post-edit it. May be try to develop your own frame sometimes. And there are two critics I remembered for this projects. One is from one of the professors, he said: “Why not this irregular shape is a frame? Because you can see in the physical model, there are just rectangular ones.” We didn’t develop something which you can guess is a frame. For example, the outside staircases can also be a frame, not just a window, right? So that depends on how imaginative you can be to make your own frame during this kind of the exploration. The technique or the camera is only your tool. You can make your own frames before taking videos.
Interviewee: Kenrick Wong
Workshop 1: Framing, Feb. 13 2019