Table of Contents

Revised Thesis Statement & Synopsis.............................................4 Style Book, Interior Spaces ...............................................................6 Design Inuences and Additional Research....................................17 Bibliography....................................................................................32 Self Critique....................................................................................34 Credits/Acknowledgements...........................................................34

sub focus

Thesis Document Tehmina Beg

THESIS STATEMENT Subfocus is an abstract short about escape and release. The idea of drowning in reality and receding into the depths of ones own mind, in search of equilibrium on a lower level. In this sub-world, you become swept up and lost in a continuous dream that cuts the strings of logic. Impossible things become tangible, and time no longer matters. The weightlessness itself is release. SYNOPSIS The visual interpretation is executed with initial shots in a submarine that is slowly ooding with calm, dark water. Above water represents reality, and below represents a dream world. The water itself has many implicit meanings - mounting pressure, emotional surges, drowning, subconsciousness... Once submerged, we transition into a world of realistic architectural spaces that have surreal elements and impossible shapes. Transitions between spaces are seamless and illogical, for example, moving through mirrors and picture frames. I want to emphasize that the majority of this piece resides in the dream space. Therefor the movement is smooth and locked as if being pulled, and the spaces should feel surreal and not lived in. GOALS Thesis is really all about getting a kickstart in the industry as well as being able to own a project from beginning to end. I wanted to target directors, VFX supervisors and DPs. This meant high concept, strong realistic visuals, rened camera and most importantly, I wanted to demonstrate an ability immerse my audience in another world (hopefully I somewhat succeeded!).

Statement and Synopsis

Statement and Synopsis

course, dictates the limitations To get the ball rolling in the sur- of the camera move. realism department, I decided Interior Design to integrate a branch of geomDeciding on the actual spaces etry called Impossible Shapes and designing them presented into my architectural spaces. These are 3 dimensional shapes the biggest challenge in the development process. I was drawn in 2D, where the shadtrying to create spaces without ing implies a certain angle, knowing how many, or what while the intersection of edges they were going to be. The subimplies another. Well known examples of impossible shapes marine layered onto my water Casebere, James. James Casebere. James Casebere. Web. 13 Dec. 2011. <http://jamescasebere.net/>. metaphor, so it was a solid idea are the Penrose stair, Necker Cultural Context: Art for inspiration I looked to artthat I kept. cube, and Penrose Triangle ists like Leandro Erlich (right), & Architecture I knew that I wanted a tradiwhos installations usually come (opposite,right). Recreating Ive loved architecture since tional theater - partly inspired these illusions in 3D require a in the form of life size interacchildhood and used to make specic viewing angle, which of by some images Id seen of tive optical illusions. The lm my own designs, albeit for fun Inception (opposite,right) and houses and theme parks. As Third and Seventh (opposite, most artists do, Ive always loved the idea of creating worlds right) are obvious inuences in terms of feel. Artist Jean that couldnt exist in reality, Francois Rauzier (right) crewhich is why Im so drawn to ates exceedingly detailed dream 3D. So for my thesis, I wanted scapes he calls Hyperphotos to create a cinematic experi- his sense of depth and disorience that feels real, yet has entation is something I sought illogical, dream-like qualities. to capture. I had fragmented ideas of what I wanted in my piece. Initially,

sible Shapes

Rauzier, Jean. Citadelle 1 Jean Francois Rauzier Hyperphoto. Jean Francois Rauzier Hyperphoto. Web. 14 Dec. 2011. <http://www. rauzier-hyperphoto.com/citadelle-1citadelle-1/>.

Japanese Castles, Life at Court and Chawan-Mushi Silky Custard. Lostpastremembered. 28 Jan. 2011. Web. 13 Dec. 2011. <http:// lostpastremembered.blogspot.com/2011/01/japanese-castles-life-at-court-and.html>.

Moscows Bolshoi theater and Pariss Opera Garnier. The detail and the textures bring another level of richness to a scene. Also I like the spatially imposing depth of a theater and I thought that might make a nice metaphor for reach exceeding ones grasp. I nally settled on about 5 spaces in total. The Submarine, a Vanity, the Theater, the Changerooms, and an abstract room which is now the Atrium. Each room would represent a certain aspect of the human

psyche. The Submarine is the real world, the theater represents aspirations, the Change rooms and Atrium represent the id or unorganized parts of the personality, and the Vanity represents self consciousness and awareness - there are more details on this in the style book pages, except for the Vanity which materialized later.

Surrealism & Impos-

Erlich, Leandro. Works: Swimming Pool (1999). Leandro Erlich. 1999. Web. 14 Dec. 2011. <http://www.leandroerlich.com.ar/works. php?id=42>.

The Film Itself : the Third & the Seventh. Dir. Alex Roman. Main : the Third & the Seventh. 24 Nov. 2009. Web. 13 Dec. 2011. <http:// www.thirdseventh.com/index.php?/4thdimension/lm/>.

STYLE BOOK
(SPACES)

SUBMARINE
SYMBOLISM The outside world. Lack of control, mounting pressure, drowning, anxiety, fear. ORIGIN I stumbled upon this reference image which I liked for its cold war era, industrial feel. When I thought of rooms lling up with water, I couldnt help but draw the obvious metaphor of a ooding submarine control room. LOOK & FEEL Cold, sterile, industrial, creepy. The water lling is very slow and calm. The light & texture will be similar to the reference image - overhead lighting, but darker and more dramatic with ickering lights.

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CHANGEROOMs
SYMBOLISM This space represents the maze of your mind, and is used to transition between abstract worlds. It implies confusion, chaos, abstraction, innity. ORIGIN Inspired by artist Leandro Erlich (left), whos art installations are life-size optical illusions. The images to the left are an installation by him called The Changing Rooms1. LOOK & FEEL Color palette will be pretty much the same as the reference images except that I would like to darken the walls to a hunter green or navy blue to make it richer. The lighting will be warm/neutral.

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1 Bialkowska, Ela. Works: Changing Rooms. 2008. Photograph. Galleria Continua, San Gimignano, Italy. Leandro Erlich. Web. Sept.-Oct. 2011. <http://www.leandroerlich.com.ar/works.php?id=42>.

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ATRIUM
SYMBOLISM This space also represents the abstract part of the mind. It is the id, the unorganized parts of ones personality - where memories and ideas are disconnected from logical organization. This is where I will have impossible shapes integrated into the architecture. ORIGIN I wanted a room that represented a sort of organized chaos, mainly so I could have a room that easily accommodated things like impossible shapes. LOOK & FEEL I wanted this space to feel like a contemporary art museum. Neutral lighting and color palette will allow me to showcase optical illusions without having to ght too hard with the architecture. I would like to have the entire space textured in white marble, as in the images to the left of the New York Public Library entrance1 and Brooklyn Museum Atrium2.
1 Rohn, Sam. New York Public Library :: NYC :: 360 Degree Panoramic VR Photography ::. 360 Panoramic VR Photography :: New York City :: Sam Rohn. Sam Rohn, 19 Mar. 2010. Web. Sept.-Oct. 2011. <http://www.samrohn.com/360-panorama/new-yorkpublic-library-nyc/>. 2 Reinert, Natalie Keller. Egypt. At Home. Shiny City. Shiny City. 5 Jan. 2011. Web. 13 Dec. 2011. <http://shinycity.wordpress.com/2011/01/05/egypt-at-home/>.

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THEATER
SYMBOLISM This space represents aspirations. The theater is a vast space with innitely high ceilings - indicating innite possibilities while at the same time bearing a sense of intimidation - and that ones grasp should exceed their reach. ORIGIN Inspired by the restoration of Moscows Bolshoi theater1 2, and also the opulence of the Opera Garnier3 4 in France. LOOK & FEEL Though the original inspiration came from traditional theaters, I would like to give it a more modern design. I will still keep the warm lighting rich palette such that it looks closer to the Copenhagen Concert Hall5 pictured above.

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1 Hill, James. The Bolshoi Theater Reopens - Audio & Photos - NYTimes.com. The New York Times - Breaking News, World News & Multimedia. New York Times, Oct.-Nov. 2011. Web. Sept.-Oct. 2011. <http://www.nytimes.com/interactive/2011/10/27/arts/ dance/bolshoi-theater.html?emc=eta1>. 2 Baldwin, Crans. Rubelli for the Bolshoi Theater in Moscow A Glass Half Full. A Glass Half Full. 7 Nov. 2011. Web. 13 Dec. 2011. <http://rosecrans.wordpress.com/2011/11/07/rubelli-section-of-my-blog/>. 3 Le Plafond De La Rotonde De La Lune. 2007. Photograph. Opera Garnier, Paris, France. By Vertcerise Flickr User. 4 La Rotonde Du Soleil | Flickr - Photo Sharing! 2007. Photograph. Opera Garnier, Paris, France. Welcome to Flickr - Photo Sharing. By Mon Ail. FLickr, 2 Sept. 2007. Web. Sept.-Oct. 2011. <http://www.ickr.com/photos/claveirole/1314715872/>. 5 The Opera In Copenhagen. Photograph. Copenhagen. Henning Larsen Architects. Web. <http://www.henninglarsen.com/projects/0400-0599/0553-the-opera-copenhagen.aspx>.

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DESIGN
(INFLUENCES)

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INTERIORs
Over the course of my research I came across a lot of sleek futuristic architectural renders. I wanted this to be a space-centric piece but with a bit more character than ambient occlusion. For my interiors I like a bold mixture of contemporary and classical elements - enough of the new to keep it interesting, and enough of the old to keep it grounded. The designs that tended to catch my eye would combine shapes from one era and with materials from another. Or they would exaggerate features where they would not normally be so bold according to said era. I also gravitate toward dramatic noir lighting, and rich color palettes where complimentary colors are accents at most. So for my reference, I started digging around for the designers responsible for hotel lounges like The Delano on Miami Beach and the Hudson Hotel in New York - which both happen to be designed by Phillip Starck. These images are from the Redubury Hotel, designed by Celebrity Photographer Matthew Rolston12. Left: You cant ignore the dramatic sweep of red velvet. A classic feature, heavily exaggerated whic makes it feel luxurious and beautiful. Above: You cant ignore the murals. The furniture is ok, but the lighting brings your attention the iconic image on the wall and only that.
1 2 SBE. The Redbury. Hollywood and Vine. Hollywood Boutique Hotel. Web. 16 Apr. 2012. <http://theredbury.com/>. Rolston, Matthew. The Ofcial Site of Matthew Rolston [Photographer] Inc. The Ofcial Site of Matthew Rolston [Photographer] Inc. Web. 16 Apr. 2012. <http://www.matthewrolston.com/>.

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Additional Research

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He tends to combine baroque shapes with modern materials and color palettes. He also uses exaggeration to the extent where most of his interiors feel dream like. Above: Mori Venice Bar, Paris; Below: Le Meurice, Paris; Opposite Clockwise: East West Studios, Faena El Porteno Hotel, Delano Hotel Miiami.1
1 Starck, Phillippe. Starck Architecture Categories. Phillippe Starck. Web. 16 Apr. 2012. <http://www.starck.com/en/architecture/>.

w Phillip Starck is a huge inuence in my designs.

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Additional Research

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Below (right): Hotel Champs Elysees, lamp by Nora Derudder Below (left): Hotel Champs Elysees mushroomsr3

w Above (left & right): Hotel Champs Elysees, Paris, by Martin Margiela.
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1 La Maison Champs Elyses. The Maison Des Champs Elysees Hotel, Ofcial Site - Design by MARTIN MARGIELA. The Maison Des Champs Elysees Hotel, Ofcial Site. Web. 16 Apr. 2012. <http://www.lamaisonchampselysees.com/>. 2 Derudder, Nora. Noraderudderdesign.com. Noraderudderdesign.com. Web. 16 Apr. 2012. <http://www.noraderudder.com/>. 3 La Maison Champs Elyses. The Maison Des Champs Elysees Hotel, Ofcial Site - Design by MARTIN MARGIELA. The Maison Des Champs Elvaysees Hotel, Ofcial Site. Web. 16 Apr. 2012. <http://www.lamaisonchampselysees.com/>.

FURNITURE

modes by Casa Padrino1.

w Above (left & right): Contemporary Baroque com-

Below (right): Victorian chaise lounge by Aubrey Nice Upholstry1. Below {left): Damask fabric swatch by Au Fil De LEau Antiques2.

1 Casa Padrino. Hotels, Lodging & Restaurants: La Maison Champs-Elyses in Paris By Christine. Remodelista. Web. 16 Apr. 2012. <http://remodelista.com/posts/hotels-lodging-restaurants-la-maison-champs-elys-es-in-paris>.

1 Aubrey Nice Upholstry. Victorian Settee: See How Its Done. Aubrey Nice Upholstry. Web. 16 Apr. 2012. 2 Au Fil De LEau Antiques. Lee Jofa Silk Romantic Floral Stripe Blue Gold. : Au Fil De LEau Antiques. Au Fil De LEau Antiques. Web. 16 Apr. 2012. <http://auldeleauantiques.com/lee-jofa-5-yds-100-silk-romantic-oral-stripe-blue-gold/>.

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Additional Research

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RETHINKING THE THEATER In order to nish on time, I needed the theater to be more modern where I could replace innite detail with sleek design. I totally stumbled upon a photo of the West German Pavilion which I liked for the stars and spherical shape of the building. It reminded me of a planetarium which in turn, led me to the Grifths Observatory looking at pendulumns, telescopes and latticed cielings. I gravitated towards that elliptical shape for the theater in general as in the Winspear Opera House (right). Eventually I thought of the Gherkin building in London and settled on that shape for the theater shell. Of course, that meant each balcony had to be built individually which was extra work due to the design. I am nevertheless, happy with the shape as it allows for other neat plays on light and concept. The ocula will be made of water, looking up through the surface at the sky as if you are still under water. There will be caustics in the theater and possibly a telescope on the stage. Just below the ocula is a huge Roman numeral clock face. This will be the ending shot. I would like for the parts of the clock face to come apart with parallax as the camera moves toward the ocula. Images: Right: Gherkin building, London1 Opposite clockwise from top left: Winspear Opera House2 ; West German Pavillion3; Grifths Observatory Telescope and Grifths Observatory Pendulum4
1 Sathvi. Related Slides. Gherkin Pictures, Gherkin Image, Buildings and Constructions Photo Gallery. Withfriendship. com. Web. 16 Apr. 2012. <http://withfriendship.com/user/sathvi/gherkin.php>. 2 Baan, Iwan. Margot and Bill Winspear Opera House, Dallas,. Archilovers. Web. 16 Apr. 2012. <http://www.archilovers.com/p25552/Margot-and-Bill-Winspear-Opera-House>. 3 Stockhausen. The 1970s. Karlheinz Stockhausen Ofcial Website. Web. 16 Apr. 2012. <http://www.stockhausen.org/ photos_70s.html>. 4 Grifths Observatory. W.M. Keck Foundation Central Rotunda. Grifth Observatory. Web. 16 Apr. 2012. <http://www. grifthobservatory.org/exhibits/brotunda.html>.

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Additional Research

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RETHINKING THE ATRIUM This was by far the toughest shot to plan in terms of concept while maintaining composition. The Atrium is supposed to be the abstract space representing a deep part of the subconscious. Here I was to put an impossible shape. Because I had already locked a complex camera move that enters and exits the scene at 90 degree angles, I thought I could only use the ambiguous circle - which, compositionally just wasnt cutting it. In order for the optical illusion to work, I would have to place the circle in the top right corner of the oor which looked random - not good for a piece where shot composition is everything. I thought maybe I could disguise it by texturing it to look like a spiral staircase - even so what would a spiral stair be doing in such an odd place? At some point I decided it would be appropriate to have the oor pattern be a compass. I also decided to scrap the circle and try to make the triangle work. If I made the oor pattern be a compass/sundial then I could make the triangle be the gnomon of the sundial. The camera move would work with this. Now most Penrose Triangles you see are drawn as a 2D isometric projection from what seems to be a 45 degree angle. Being that the camera enters/exits at 90 degrees, this meant I had to have my penrose triangle also be a right triangle. It took some fudging because I didnt quite know how to draw a regular penrose triangle to begin with. Finally I took a triangle image, skewed it in photoshop, brought the image plane into maya, and modeled the triangle in three separate pieces from the render camera where I wanted it to parallax into place. I spread the triangle pieces
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apart so that they would have some play with the gyroscopic camera move. The lighting was another process in which I had to work around the triangle. I used nal gather which meant that no matter what, the triangle would cause subtle shadowing. I had to texture and light the entire atrium before rendering a high resolution image of the oor and projecting it back onto the triangle tops. I then painted light onto the triangle front to complete the optical illusion - this was by far the easiest and most gratifying part. It is now called the Penrose Atrium. Images clockwise from top left: Compass oor design1; Compass sundial2 ; Standard Isometric Penrose Triangle3; Penrose triangle modeled with cutout paper4

1 Cosmos, Allison. Mapping Our Way Through the Decorative Arts. Allison Cosmos. Web. 16 Apr. 2012. <http://www. allisoncosmos.com/allisoncosmos/Blog/Entries/2011/6/29_Mapping_our_Way_Through_the_Decorative_Arts.html>. 2 Cowans Auctions. About This Item. Early Pocket Compass & Sundial,. Web. 16 Apr. 2012. <http://www.cowanauctions. com/auctions/item.aspx?ItemId=11143>. 3 Wolfram. Penrose Triangle. -- from Wolfram MathWorld. Wolfram. Web. 16 Apr. 2012. <http://mathworld.wolfram. com/PenroseTriangle.html>. 4 Imajilion. Flickr. Yahoo! Web. 16 Apr. 2012. <http://www.ickr.com/photos/imajilon/4589603661/sizes/l/in/photostream/>.

Additional Research

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DREAM SEQUENCES IN FILM

Ive chosen these stills specically because they are shot live but have a surreal quality. The Inception Japanese dining1 room has slightly warbled but otherwise very clean glossy reections. High contrast, warm colors and repetition makes these shots absolutely beautiful and absolutely dream-like. The Space Odessy 20012 stills are similar in that they are once again very clean. Except here theres little to no specular reections. This room is almost like ambient occlusion and it is live photography. The last still from the Prestige (right)3, I chose for its simplicity in creating a strong compositional frame for the chararcter and highlighting the dove. The dark simple background and depth of eld are perfect for this.

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Additional Research

1 Pster, Wally. Inception. Wally Pster Director of Photography. Web. 18 Apr. 2012. <http://www.wallypster.com/ gallery/inception/>. 2 2001, a Space Odyssey. Dir. Stanley Kubrick. Prod. Stanley Kubrick. By Stanley Kubrick, Arthur C. Clarke, Geoffrey Unsworth, and Ray Lovejoy. Perf. Keir Dullea, Gary Lockwood, and William Sylvester. Metro-Goldwyn-Mayer, 1968. 3 Pster, Wally. The Prestige. Wally Pster Director of Photography. Web. 18 Apr. 2012. <http://www.wallypster. com/gallery/the-prestige/>.

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BIBLIO & CREDITS

Thesis Advisement Session 05 / Wednesday, Feb. 22 - 12.00 - 12:30 PM Similar to initial group meeting. Discuss locking down the edit and nalizing the continuous camera move. Need to work on adding a nal transition into the theater. Decided to cut at the theater in case I cannot nish the entire piece. Discuss rendering at 30FPS instead of 24 for smoothness but am trying to minimize framecount. Session 06 / Friday. Feb. 25 - 12.00 - 12:30 PM Finalized camera move. Have decided to cut once the camera moves into the theater and deal with it later. Do not have an ending but must absolutely move on to modeling and layout. Session 09 / Wednesday, Mar. 21 - 12:30 - 1.00 PM Have rendered Vanity, currently working on submarine. Will render change rooms hopefully this week. Now seeing my renders I realize the camera move is too fast. But since it is a continuous shot from submarine to theater I am tentative to go back and reanimate the camera. Ive decided I will render all shots as is, and rerender a slowed version at the end. Have discussed with Zeth and Patricia as well that this is ok for thesis panel. Session 11 / Wednesday, Apr.4 12.30 - 1.00 PM Have strung together submarine to change rooms and rendered the Penrose Atrium. Must move onto theater

Tech Advisement (most correspondence via email) Feb 03 Discuss rendering 960x540 and up-rezzing to 720. This may soften the crispness of my renders. Discuss techniques that may help with render times such as unied sampling. Discuss uid dynamics and how to handle control room water. Discuss going for a more stylized look over photoreal. Feb 22 Discuss Matte Pass Maker, mentalray proxies and maya env-blur. Discuss linear workow. Discuss pipeline setup for project les and workow with references and isntances. Ive decided not to use either because theyre broken. Mar 09 Discuss nal gather as a separate pass for the vanity lights and how to get translucence without SSS. Ive already futzed with the carpaint shaders ambient light with incidence to get a nice luminous feel with some movement in it. I gured out how to do an FG pass by rendering nal gather maps with a white lambert and then using that map on my beauty. I dont get color bounce but it looks nice. Mar 20 Discuss motion blur vector passes and bit depth of utility passes. Discuss camera speed issues in vanity render which will probably propagate to the rest of the shots. Have decided to keep going with the current camera animation as it is one continuous shot and the in/out points of each scene must match.

Post Thesis Self Critique What Ive learned from this experience is that I never want to work on a project of this magnitude alone again. I think that I am able to come close to the desired output but I would far rather have a team to execute my vision than suffer through every problematic detail. I think so far Ive done a good job planning my shots and optimizing my scenes. My render times have not been through the roof at all and I have had few mistakes to have to go back and re-render. My main fear was that I was leaving so much to the comp that I thought my comp might be a total mess. It is only a partial mess. I could have done better with the changeroom shot, but I rushed out some renders that needed a lot of xes such as zdepth in reections. In fact NONE of my mentalray rendr passes showed up in my reections. I have zero desire to re-render that shot and have plenty of mattes to color correct where I need. Plus I can only assume motion blur will make the mistakes unnoticeable. They are already unnoticeable in the beauty. My biggest mistake I would say was not slowing down the camera enough. But I do think it was a prudent decision to stay with the locked down camera move until Im nished with all the shots.

Credits Tehmina Beg Concept, art direction, modeling, layout, camera animation, texturing, lighting Brian Waddel Caustics, water simulation, bubble particles, uids Erin Arden Telescope Morgan Doctor Song: Belgium Courtesy of Aporia Records Technical Advisor Zeth Willie Thesis Advisor Michael Hosenfeld Additional Advisors Gavin Guerra, Patricia Heard-Greene, Jamie Williams

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Bibliography

Au Fil De LEau Antiques. Lee Jofa Silk Romantic Floral Stripe Blue Gold. : Au Fil De LEau Antiques. Au Fil De LEau Antiques. Web. 16 Apr. 2012. <http://auldeleauantiques.com/lee-jofa-5yds-100-silk-romantic-oral-stripe-blue-gold/>. Aubrey Nice Upholstry. Victorian Settee: See How Its Done. Aubrey Nice Upholstry. Web. 16 Apr. 2012. Baan, Iwan. Margot and Bill Winspear Opera House, Dallas,. Archilovers. Web. 16 Apr. 2012. <http://www.archilovers.com/p25552/ Margot-and-Bill-Winspear-Opera-House>. Casa Padrino. Hotels, Lodging & Restaurants: La Maison Champs-Elyses in Paris By Christine. Remodelista. Web. 16 Apr. 2012. <http://remodelista.com/posts/hotels-lodging-restaurants-la-maison-champs-elys-es-in-paris>. Cosmos, Allison. Mapping Our Way Through the Decorative Arts. Allison Cosmos. Web. 16 Apr. 2012. <http://www.allisoncosmos. com/allisoncosmos/Blog/Entries/2011/6/29_Mapping_our_Way_ Through_the_Decorative_Arts.html>. Cowans Auctions. About This Item. Early Pocket Compass & Sundial,. Web. 16 Apr. 2012. <http://www.cowanauctions.com/auctions/item.aspx?ItemId=11143>. Derudder, Nora. Noraderudderdesign.com. Noraderudderdesign.com. Web. 16 Apr. 2012. <http://www.noraderudder.com/>. From The Right Bank, A;;y. From The Right Bank. FROM THE RIGHT BANK. Web. 16 Apr. 2012. <http://www.fromtherightbank. com/>. Grifths Observatory. W.M. Keck Foundation Central Rotunda. Grifth Observatory. Web. 16 Apr. 2012. <http://www.grifthobservatory.org/exhibits/brotunda.html>. Imajilion. Flickr. Yahoo! Web. 16 Apr. 2012. <http://www.ickr.com/ photos/imajilon/4589603661/sizes/l/in/photostream/>. InteriorDesign.net. Check-In to 200 Lex Attracts a Designer Crowd. Interior Design, Architecture, Styles, Ideas, News & Trends. Web. 16 Apr. 2012. <http://www.interiordesign.net/>. KNSTRCT. KNSTRCT. KNSTRCT. Web. 16 Apr. 2012. <http:// knstrct.com/>. La Maison Champs Elyses. The Maison Des Champs Elysees Ho-

tel, Ofcial Site - Design by MARTIN MARGIELA. The Maison Des Champs Elysees Hotel, Ofcial Site. Web. 16 Apr. 2012. <http:// www.lamaisonchampselysees.com/>. Related Slides. Gherkin Pictures, Gherkin Image, Buildings and Constructions Photo Gallery. Web. 16 Apr. 2012. <http://withfriendship.com/user/sathvi/gherkin.php>. Remodelista. Remodelista on Tuesdays Martha Stewart Show. Remodelista. Web. 16 Apr. 2012. <http://remodelista.com/>. Remodelista. Remodelista on Tuesdays Martha Stewart Show. Remodelista. Web. 16 Apr. 2012. <http://remodelista.com/>. Rolston, Matthew. The Ofcial Site of Matthew Rolston [Photographer] Inc. The Ofcial Site of Matthew Rolston [Photographer] Inc. Web. 16 Apr. 2012. <http://www.matthewrolston.com/>. Sathvi. Related Slides. Gherkin Pictures, Gherkin Image, Buildings and Constructions Photo Gallery. Withfriendship.com. Web. 16 Apr. 2012. <http://withfriendship.com/user/sathvi/gherkin. php>. SBE. The Redbury. Hollywood and Vine. Hollywood Boutique Hotel. Web. 16 Apr. 2012. <http://theredbury.com/>. Starck, Phillippe. Starck Architecture Categories. Phillippe Starck. Web. 16 Apr. 2012. <http://www.starck.com/en/architecture/>. Stockhausen. The 1970s. Karlheinz Stockhausen Ofcial Website. Web. 16 Apr. 2012. <http://www.stockhausen.org/photos_70s. html>. Winspear Opera House. WWD. Fashion, Beauty and Retail News. Web. 16 Apr. 2012. <http://www.wwd.com/eye/people/dallas-enters-new-era-with-arts-center-2349672>. Wolfram. Penrose Triangle. -- from Wolfram MathWorld. Wolfram. Web. 16 Apr. 2012. <http://mathworld.wolfram.com/PenroseTriangle.html>. Pster, Wally. Inception. Wally Pster Director of Photography. Web. 18 Apr. 2012. <http://www.wallypster.com/gallery/inception/>. 2001, a Space Odyssey. Dir. Stanley Kubrick. Prod. Stanley Kubrick. By Stanley Kubrick, Arthur C. Clarke, Geoffrey Unsworth, and Ray Lovejoy. Perf. Keir Dullea, Gary Lockwood, and William Sylvester. Metro35

Goldwyn-Mayer, 1968.

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Bibliography