100 percent conception
100 percent realization
100 percent art direction
100 percent fakob
100 percent me

My name is Jakob Schindegger.
I am an art director in the area of motion graphics and VFX. curriculum vitae

Shot breakdown – for further details please follow the individual project links:

The Growing Up of a truck short clips  personal project Software: Softimage, Syntheyes, After Effects Guardian Angel promotional video  Production: Theresa Lobkowicz Work: tracking, animation and compositing Software: Softimage, Syntheyes, After Effects 175 Years Bertelsmann: Trends in Technology presentation (36x5m projection, 30 min)  Production: ZONE Media, Grosse8 Work: visual concept, art direction, animation, ICE-programming, scripting Software: Softimage, After Effects Kapsch Media System more than  200 clips (branding, information, entertainment)  Production: ZONE Media Work: visual concept, art direction, animation, ICE and vvvv programming Software: Softimage, vvvv, After Effects Brunos Welt – Infoscreen more than 40 episodes á 30 sec  Production: ZONE Media Work: concept, art direction, animation Software: Softimage, Syntheyes, After Effects PSK Versicherung imagefilm  Production: media art compagnie Work: visual concept, art direction, animation Software: Softimage, Fusion The Perverts Guide to Cinema documentary  Production: Channel 4, Mischief Films Work: visual concept, title animation, motion graphics and VFX Software: After Effects Tree in my office  personal project Software: Softimage, After Effects Der Gruen Effekt documentary  Production: www.pooldoks.com Work: visual concept, title animation, inserts, credits, tracking Software: After Effects, Syntheyes Filmgallerie logo animation  Production: ZONE Media Work: visual concept, animation Software: After Effects ray – Filmmagazin theatrical trailer  Production: ZONE Media Work: visual concept, animation Software: After Effects Rimini feature film  Production: Peter Jaitz Work: visual concept, title animation, credits, tracking Software: After Effects, Boujou GreenKat Productions logo animation  Production: Qarante Brand Design Work: animation Software: After Effects Zugvögel WIP  in collaboration with the artist Juli Fritz Software: Softimage Fatal Promises documentary  Production: Greenkat Productions Work: visual concept, info graphics, title animation, credits Software: After Effects Kunstraum Niederösterreich logo animation  Production: ZONE Media Work: visual concept, animation Software: After Effects HangART-7 multiple ident clips for documentary  Production: ZONE Media Work: visual concept, animation Software: After Effects fakob – Pixar – spoof  personal project Software: Softimage, After Effects The Street  personal project Software: Softimage, PFTrack, After Effects Festspielhaus St. Pölten logo animation  Production: ZONE Media Work: visual concept, animation Software: After Effects forum  frohner logo animation  Production: ZONE Media Work: visual concept, animation Software: After Effects Telekom Austria animations for exhibition  Production: Media Art Compagnie Work: visual concept, animation, art direction Software: Softimage, After Effects Kino unter Sternen Trailer theatrical trailer  Production: afterimage productions Work: visual concept, animation Software: After Effects

Based on an idea of the artist Juli Fritz

Work: 100% fakob – modelling, lighting, rigging, animation, compositing

Software: Softimage, After Effects

Filmspace – Architecture of the Mind
about the translation of liminality into filmspace, in the Science Fiction movie GATTACA

This is my thesis for an architectural masters degree.
It was written at the Departement of Architectural Theory in Vienna / Prof. Kari Jormakka.

The thesis (written in german!) can be downloaded here (2.8MB/pdf)

/ german

Abstract
The abilities of an architect stem from heightened perception based on seeing, hearing and feeling; they derive from experiencing architecture. These experiences become a source, an ability in itself. The incorporation of perception in the design process on the Part of the architect is in contrast to a persons’ perception of architecture.
However, a Person deserves more than just passive experience. He is a point of departure. This becomes clear in a statement by Hannah Arendt: “Things and men form the environment for each of man’s activities, which would be pointless without such a location; yet this environment, the world into which we are born, would not exist without the human activity which produced it.”1 The realisation that space and the activities that take place in it cannot be separated is represented even more radically by Bernard Tschumi. In “Advertisements of Architecture,” he says, “to really appreciate architecture, you may even need to commit a murder. Architecture is defined by the actions it witnesses as much as by the enclosure of its Walls.”2 Tschumi thereby includes events in construction. He argues that a murder on an open street is different to a murder in a church. An event has different meaning based on differing surroundings, it requires a stage, so to speak. The possibilities film offers for the staging of events are almost perfect. Tschumi discusses a bi-directional relationship when he describes man’s relationship to architecture. He juxtaposes the influence of man on space with the possible influence of space on man.

This possibility becomes a necessity in film. The viewer is integrated in the film space by the characters. Hence the film space affects the character and the viewer. Moments in which there is change in location and therefore of the events are explored to define the role of architecture in triggering an event. This is most evident in transitional or threshold areas. In anthropology, a liminal space is a space in which a major personal change takes place.

GATTACA is about the character’s search for ‘home’. He is in the process of finding out who he is, in a liminal phase. The film space acts as a multiplicator for the main character’s (emotional) world.

“The artists architecture is an architecture of associations and observes the laws of emotion, not of gravity [...] One might say the artist creates phenomenologically genuine architecture, an art of building defined by his own experience rather than by the professional rules of the art of architecture.”3 What Pallas¬maa is relating to art can also be applied to film. The Integration of the viewer in the film space gives him an active role in perception. Annette Kuhn says: “[...] in phenomenological terms navigating the virtual space of a film’s diegetic world may involve experiencing the body ‘as if’ drawn into and moving through that space.”4 It is exactly this active experiencing of film space within a time dimension that leads to ‘pure experience’. The film space is free of functional or technical restrictions. Although film space is subject to certain conventions that lead to a focus on significance. This can be considered a phenomenological reduction.

The complete control over the staging of space and events and the integration of the viewer in this space leads to the ‘things themselves,’ through a direct spatial experience. Hence film can be considered an example of the nature of architecture.

1 Hannah Arendt, The Human Condition (Chicago: University of Chicago Press, 1958), pg. 22. 2 Bernard Tschumi, Architecture and Disjunction (Cambridge/MA: MIT Press, 1994), pg. 100. 3 Juhani Pallasmaa, ‘The Rooms of memory – architecture in painting’, in: Arkkitehti, No. 5 (Helsinki, 1985), pg. 102. 4 Annette Kuhn (Ed.), Alien Zone II – The Spaces of Science Fiction Cinema (London et al: Verse, 1999~, pg. 78.

english /

Filmspace – Architecture of the Mind
über die filmräumliche Darstellung von Liminalität im Science Fiction Film GATTACA

Dies ist das Thema meiner Diplomarbeit in Architektur.
Sie wurde am Institut für Architekturtheorie bei Prof. Kari Jormakka geschrieben.

Diplomarbeit – Download (2.8MB/pdf)

Abstract
Die Fähigkeiten von ArchitektInnen entspringen einer erhöhten Wahrnehmung, durch das Sehen, das Hören, das Fühlen; sie entspringen dem Erleben von Architektur. Diese Erfahrung wird zu einer Quelle, zu einer Fähigkeit selbst. Dem Einbeziehen der Wahrnehmung des Architekturschaffenden auf Seiten des Entwurfsprozesses steht die Wahrnehmung des Menschen auf Seiten des Erlebens von Architektur gegenüber.

Dem Menschen aber steht viel mehr zu als nur passives Erleben. Er selbst ist Ausgangspunkt. Deutlich wird dies bei Hannah Arendt: „Things and men form the environment for each of man’s activities, which would be pointless without such a location; yet this environment, the world into which we are born, would not exist without the human activity which produced it.“1 Die Erkenntnis, dass der Raum und die darin stattfindenden Aktivitäten nicht getrennt werden können, wird auf eine radikalere Weise von Bernard Tschumi vertreten. In einem seiner „Advertisements of Architecture“ meint er: „To really appreciate architecture, you may even need to commit a murder. Architecture is defined by the actions it witnesses as much as by the enclosure of its walls.“2 Damit bezieht Tschumi auch das Konstruieren von Ereignissen mit ein. Er bringt das Beispiel, dass sich ein Mord auf der Straße grundlegend von einem Mord in der Kirche unterscheidet. Ein Ereignis hat durch unterschiedliche Umgebungen unterschiedliche Bedeutungen. Es verlangt quasi nach einer Bühne. Im Film ist die Möglichkeit der Inszenierung eines Ereignisses nahezu vollkommen. Bei der Beziehung des Menschen zur Architektur spricht Tschumi von einem bidirektionalen Verhältnis. Er stellt dem Einfluss des Menschen auf den Raum einen möglichen Einfluss des Raumes auf den Menschen gegenüber.

Diese Möglichkeit wird im Film zu einer Notwendigkeit. Der Zuschauer wird über den Protagonisten in den Filmraum eingebunden. Dadurch kommt dem Filmraum eine Einflussnahme auf den Protagonisten und so auf den Zuschauer zu. Um die Rolle der Architektur im Film als das Etablieren eines Ortes und dadurch das Konstituieren eines Ereignisses zu untersuchen, werden Momente betrachtet, in denen es Veränderungen des Ortes, des Ereignisses gibt. Am offensichtlichsten ist dies bei Übergangs- oder Schwellenbereichen. In der Anthropologie spricht man vom liminalen Raum als Raum, in dem eine bedeutende persönliche Veränderung stattfindet.

Der Film GATTACA handelt von der Suche des Protagonisten nach einem „Zuhause“. Er befindet sich in einer Phase der Selbstfindung, in einem liminalen Zustand. Der Filmraum fungiert dabei als Multiplikator für die (Gefühls)-Welt des Hauptdarstellers.

The artist‘s architecture is an architecture of associations, and observes the laws of emotion, not of gravity. [...] One might say the artist creates phenomenologically genuine architecture, an art of building defined by his own experience rather than by the professional rules of the art of architecture.3 Was Pallasmaa hier auf die Malerei bezieht, ist in plakativerem Maße auf den Film anzuwenden. Mit der Einbeziehung des Zuschauers in den Filmraum kommt ihm die Rolle des aktiven Wahrnehmens zu. Annette Kuhn meint: „… in phenomenological terms navigating the virtual space of a film’s diegetic world may involve experiencing the body “as if” drawn into and moving through that space.“4 Genau dieses aktive Erfahren des Filmraums, innerhalb einer zeitlichen Dimension, führt zu einer „pure experience“. Das Wesentliche des Filmraums ist, im architektonischen Sinne, frei von funktionellen oder technischen Einschränkungen. Darüber hinaus ist der Filmraum gewissen Konventionen unterworfen, die zu einer Bedeutungsfokussierung führen. Es kommt hier quasi zu einer phänomenologischen Reduktion.

Die vollkommene Kontrolle über die Inszenierung von Raum und Ereignis und die Einbeziehung des Zuschauers in diesen Raum führt über die direkte Erfahrung des Raumes „zu den Sachen selbst“. Dadurch kann der Film als Wesensschau der Architektur gesehen werden.

1) Arendt, Hannah; The Human Condition; The University of Chicago Press; Chicago; 1958, S22 2) Tschumi, Bernard; Architecture and Disjunction; MIT Press; 1994, S100 3) Pallasmaa, Juhani; The Rooms of memory – architecture in painting; in arkkitehti – finish architectural review; 5/1985, S102 4) Kuhn, Annette, ; Alien Zone II – the spaces of science fiction cinema; Verso, London, New York; ; 1999, S78

A complete architectural design study (including presentational renderings)

for the “Museum of Art and Technology” on West 21st street in Chelsea.
This was done during my stay in New York City.

Work: concept, modelling, animation, compositing

Software: 3DS Max, ArchiCad, After Effects