From Place to Place: Integrated tourism system in the Enisala fortress landscape
Coord. professor: Justin Baroncea
This project proposes a strategy for a integrated tourism system in the Enisala fortress area, Tulcea county. The principles are based on conservation of historical areas and resource use in the area, both natural and anthropic. The adaptation of historical sites is based on a thorough analysis regarding cultural values, the state of the building, and research into conservation methods Depending on the materials already found in the ruins, how it is built and counting the factors influencing sustainability of the repairs. It will establish an attitude towards the historic site based on a balance between architectural values and sensitivity of intervention in such a location, of national interest. For these reasons, the study of heritage preservation methods, the revitalization and enhancement of the historical monument necessary for structuring this project, the site was classified a historic monument class A, the natural and human role is a part of the construction project. If cultural segment consists of Archaeological Heritage, the presence of other resources will be harnessed in different types of tourism: water, oenological, culinary, equestrian. This project aims to define a system where the above-mentioned types of activities are interconnected. Activity-territory relationship is translated into inserts on site, based on a study which considers the built fund, topography, accessibility and points of interest. Tourism in the south of Romania may be based on natural reserves, landscape and by anthropogenic heritage. In this case, consists of a scenario in which the environment, economy, geographical and historical resources, form a relationship easily exposed to the general public. Integrated tourism and rural areas is an alternative to solve the same the relative gap between village and city. ICEM Tulcea data show that in 2014, the city Enisala It is the most visited tourist attraction in the county. Integrated agricultural spaces, natural resources, cultural heritage, traditions of rural, agricultural, exchanges between urban and rural incomes, create jobs directly and indirectly improves.
Who influences you graphically?
Speaking in a generally, I would say the paintings by Edward Hopper have taken a toll in my way of putting things together. Besides the obvious presence of contrast, a well-chosen colour palette and the strong sense of intention he conveys. Each piece has the “intent” of leading your mind to a story. Also, reflecting on a final image as more of a graphic statement (e.g. painting, poster, icon) than a functional speech pushes me to embody the best moment my proposal could be part of.
Besides Edward Hopper, the collage technique of the late architect Enric Miralles taught me how to impose a certain dynamic effect only by considering the blank page a canvas onto which I set a starting point and an ending point through image/ element mapping.
Last, but not least, a bit of Wes Anderson. I’m not a big fan of symmetry in graphics, but I appreciate his use of color editing and level of detail in each frame. In a final image, I want to use an array of colours from the same palette. For me, this helps a lot to strengthen the composition; very few times I try to enhance the main “actor” by using a contrasting colour. In matter of details, lately I attempted to stay away from photorealistic renders but at the same time put in all the small elements that take part in a building’s “story” (drainages, bolts, joints, stains). So, relating to the attitude of Wes Anderson when he builds the film sets transfers to me by thinking at my project like a film: frame by frame, set by set. I want the final image to be the best in my “film”: colour-detail-weather-object – wise.
What is your work process? (rhinoceros, photoshop, sketch up?)
My work process starts with quick hand sketches. From that I focus on some main elements that I want to show in my perspective. I use 3ds max with Vray render engine. My renders are usually pretty raw and basic as a whole image, but very detailed in the matter of modeling so I can catch all the small shadows and reflections. I moreover try to render at a high resolution and a wider frame in the event that I then need to crop the final image (sometimes it helps with the degree of tension).Post processing in Photoshop cs6. This is where I do my final image (textures, entourage, vegetation and filters).
What role does texture play in trying to visually integrate proposal and site?
I think that along with colour and the morphology of my proposal it plays a vital role.
For example, the presence of the fortress so close to the info point influences the proposed architecture and finishes very much. So, to integrate a new construction in this already-settled frame (the fortress on the highest and rockiest hill in the main region) needed a similar texture that creates a dialogue with the existent and doesn’t challenge or undermine it’s presence.
You can also see in the horse stables’ render the fact that the wood varnish is on the vertical direction like the grass and hay surface on the other side. The rock wall plays in the texture of the rock/gravel walkway.
In the end I try to find a sincere dialogue between the existing elements and the proposal, not by adding more to fake it into a belief, but to put it in a way that it feels like it’s been there.
How does the exploration of the proposal also by night help in reinforcing the idea of integration and your proposal?
Having a 15th century fortress placed in a strategic position imposed, for me, a specific type of relation with the proposal- each insertion should be inter-dependent and at the same type subordinated to the citadel- the key element of the site. This conclusion has to be viable by day and by night also. The site is as beautiful by day and by night also.
Trying to express this relation by night, as a whole image there were two things to show: the exterior silhoutte of the fortress and the construction’s rigour of the bay-wall ratio. The mediating element is the water (pool), a neutral presence that tries to provoke the dialogue between the two “worlds” by creating a virtual gap.
The idea of integration, here, is achieved, again, by expressing the basic meaning of each object – the presence of the fortress is in fact, it’s “body” (the walls are “washed” by the public lighting system) relating with the new activity; activity that takes place inside (the interior framed by the bay-wall ratio).
What tools did you use in order to stage these inserts of activity so as they blended in with the existing fortress?
The most important tool is research. Each element i put into my images has to be tailored for the image. I rarely try to modify things just to make them work.I start by sketching my best frame and start blending in elements that work with what the relation between my proposal and the existent already expresses. I use 3ds max to build my set for a basic render – no entourage and textures only on the proposal. Post processing in photoshop where i try to layer each added element in a certain order (weather, floor textures, vegetation, details, entourage).