Smoke and Mirrors: Harry Potter Scenes Reimagined by Architecture Students

Architecture News Melbourne , Australia

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1. The Burrow

It looked as though it had once been a large stone pigsty, but the extra rooms had been added here and there unitl it was several storeys high and so crooked it looked as though it was held up by magic (which, Harry reminded himself, it probably was). Four or five chimneys were perched on top of the red roof. A lop-sided sign stuck in the ground near the entrance read The Burrow. Round the front door lay a jumble of wellington boots and a very rusty cauldron. Several fat brown chickens were pecking their way around the yard. ‘It’s not much,’ said Ron. ‘It’s brilliant,’ said Harry happily, thinking of Privet Drive. ////////////// Excerpt from Harry Potter and the Chamber of Secrets (1998), by JK Rowling. ////////////// Model interpretation of the Burrow. ////////////// Makers: ////////////// Zoe Bratcher Alison Hammer Edwin Jupp Andrew Rahman Wei Lyn Song ////////////// The model references muggle elements that Arthur Weasley would have picked up on his adventures of the British countryside. An analysis of each character was undertaken, with the idea that each element of the Burrow would reflect their personalities. Consideration was given for the order of the rooms based upon the source text, with different details, such as windows and cladding, selected for each family member. The form of the model was iterated over time to create a tall, swaying design, bursting with the unexpected.

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2. The Burrow

It looked as though it had once been a large stone pigsty, but the extra rooms had been added here and there unitl it was several storeys high and so crooked it looked as though it was held up by magic (which, Harry reminded himself, it probably was). Four or five chimneys were perched on top of the red roof. A lop-sided sign stuck in the ground near the entrance read The Burrow. Round the front door lay a jumble of wellington boots and a very rusty cauldron. Several fat brown chickens were pecking their way around the yard. ‘It’s not much,’ said Ron. ‘It’s brilliant,’ said Harry happily, thinking of Privet Drive. ////////////// Excerpt from Harry Potter and the Chamber of Secrets (1998), by JK Rowling. ////////////// Model interpretation of the Burrow. ////////////// Makers: ////////////// Zoe Bratcher Alison Hammer Edwin Jupp Andrew Rahman Wei Lyn Song ////////////// The model references muggle elements that Arthur Weasley would have picked up on his adventures of the British countryside. An analysis of each character was undertaken, with the idea that each element of the Burrow would reflect their personalities. Consideration was given for the order of the rooms based upon the source text, with different details, such as windows and cladding, selected for each family member. The form of the model was iterated over time to create a tall, swaying design, bursting with the unexpected.

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3. The Burrow

It looked as though it had once been a large stone pigsty, but the extra rooms had been added here and there unitl it was several storeys high and so crooked it looked as though it was held up by magic (which, Harry reminded himself, it probably was). Four or five chimneys were perched on top of the red roof. A lop-sided sign stuck in the ground near the entrance read The Burrow. Round the front door lay a jumble of wellington boots and a very rusty cauldron. Several fat brown chickens were pecking their way around the yard. ‘It’s not much,’ said Ron. ‘It’s brilliant,’ said Harry happily, thinking of Privet Drive. ////////////// Excerpt from Harry Potter and the Chamber of Secrets (1998), by JK Rowling. ////////////// Model interpretation of the Burrow. ////////////// Makers: ////////////// Zoe Bratcher Alison Hammer Edwin Jupp Andrew Rahman Wei Lyn Song ////////////// The model references muggle elements that Arthur Weasley would have picked up on his adventures of the British countryside. An analysis of each character was undertaken, with the idea that each element of the Burrow would reflect their personalities. Consideration was given for the order of the rooms based upon the source text, with different details, such as windows and cladding, selected for each family member. The form of the model was iterated over time to create a tall, swaying design, bursting with the unexpected.

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4. The Chamber of Secrets

In was the gloomiest, most depressing bathroom Harry had ever set foot in. Under a large, cracked and spotted mirror were a row of chipped, stone sinks. The floor was damp and reflected dull light given off by the stubs of a few candles, burning low in their holders; the wooden doors to the cubicles were flaking and scratched and one of them was dangling off its hinges. The tap glowed with a brilliant white light and began to spin. Next second, the sink began to move. The sink, in fact, sank, right out of sight, leaving a large pipe exposed, a pipe wide enough for a man to slide into. ////////////// Excerpt from Harry Potter and the Chamber of Secrets (1998), by JK Rowling. ////////////// Model interpretation of the interior of the Entry to the Chamber of Secrets ////////////// Makers: ////////////// Sara Tan Ying Ruey Lee Richo Wirawan Juan Planells Pi Mengli ////////////// Corvinus Gaunt – direct descendant of Slytherin, and antecedent of Tom Riddle – explains how the simple trapdoor was secretly protected, so that those who knew how could still access the entrance to the Chamber even after newfangled plumbing had been placed on top of it. This set focuses on the bathroom and unveiling of the opening to the Chamber of Secrets.ness and light mimics the sense of mystery.

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5. The Chamber of Secrets

In was the gloomiest, most depressing bathroom Harry had ever set foot in. Under a large, cracked and spotted mirror were a row of chipped, stone sinks. The floor was damp and reflected dull light given off by the stubs of a few candles, burning low in their holders; the wooden doors to the cubicles were flaking and scratched and one of them was dangling off its hinges. The tap glowed with a brilliant white light and began to spin. Next second, the sink began to move. The sink, in fact, sank, right out of sight, leaving a large pipe exposed, a pipe wide enough for a man to slide into. ////////////// Excerpt from Harry Potter and the Chamber of Secrets (1998), by JK Rowling. ////////////// Model interpretation of the interior of the Entry to the Chamber of Secrets ////////////// Makers: ////////////// Sara Tan Ying Ruey Lee Richo Wirawan Juan Planells Pi Mengli ////////////// Corvinus Gaunt – direct descendant of Slytherin, and antecedent of Tom Riddle – explains how the simple trapdoor was secretly protected, so that those who knew how could still access the entrance to the Chamber even after newfangled plumbing had been placed on top of it. This set focuses on the bathroom and unveiling of the opening to the Chamber of Secrets.ness and light mimics the sense of mystery.

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6. The Chamber of Secrets

In was the gloomiest, most depressing bathroom Harry had ever set foot in. Under a large, cracked and spotted mirror were a row of chipped, stone sinks. The floor was damp and reflected dull light given off by the stubs of a few candles, burning low in their holders; the wooden doors to the cubicles were flaking and scratched and one of them was dangling off its hinges. The tap glowed with a brilliant white light and began to spin. Next second, the sink began to move. The sink, in fact, sank, right out of sight, leaving a large pipe exposed, a pipe wide enough for a man to slide into. ////////////// Excerpt from Harry Potter and the Chamber of Secrets (1998), by JK Rowling. ////////////// Model interpretation of the interior of the Entry to the Chamber of Secrets ////////////// Makers: ////////////// Sara Tan Ying Ruey Lee Richo Wirawan Juan Planells Pi Mengli ////////////// Corvinus Gaunt – direct descendant of Slytherin, and antecedent of Tom Riddle – explains how the simple trapdoor was secretly protected, so that those who knew how could still access the entrance to the Chamber even after newfangled plumbing had been placed on top of it. This set focuses on the bathroom and unveiling of the opening to the Chamber of Secrets.ness and light mimics the sense of mystery.

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7. Gringotts

Enter, stranger, but take heed Of what awaits the sin of greed, For tthose who take, but do not earn, Must pay most dearly in their turn, So if you seek beneath our floors A treasure that was never yours, Thief, you have been warned, beware Of finding more than treasure there ////////////// ‘Like I said, yeh’d be mad to try an’ rob it,’ said Hagrid. ////////////// Excerpt from Harry Potter and the Philospher’s Stone (1997), by JK Rowling. ////////////// Model interpretation of the interior of Gringotts bank. ////////////// Makers: ////////////// Paul En Hao Yap Hylin Lam Ka Wing Karen Tsui Hoi Yin Ho Kye Yuan Choong ////////////// Our scene pictures the first time Harry Potter enters the magical world to retrieve his parents’ inheritance. Leading by Hagrid, they walked pass a grand marble hall with goblins scribbling, weighing and examining coins and stones. While Harry was still observing what the mystic creatures are, they arrived the end of the hall. The 3-storey tall walls slide open, a cart magically flew towards them. Harry was expected to see lockers and rooms, but he was surprised to see a huge, dark cave that seemed never-ending, with twisting tracks leading to the deep void. He wondered, what treasure can he seek beneath.

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8. Gringotts

Enter, stranger, but take heed Of what awaits the sin of greed, For tthose who take, but do not earn, Must pay most dearly in their turn, So if you seek beneath our floors A treasure that was never yours, Thief, you have been warned, beware Of finding more than treasure there ////////////// ‘Like I said, yeh’d be mad to try an’ rob it,’ said Hagrid. ////////////// Excerpt from Harry Potter and the Philospher’s Stone (1997), by JK Rowling. ////////////// Model interpretation of the interior of Gringotts bank. ////////////// Makers: ////////////// Paul En Hao Yap Hylin Lam Ka Wing Karen Tsui Hoi Yin Ho Kye Yuan Choong ////////////// Our scene pictures the first time Harry Potter enters the magical world to retrieve his parents’ inheritance. Leading by Hagrid, they walked pass a grand marble hall with goblins scribbling, weighing and examining coins and stones. While Harry was still observing what the mystic creatures are, they arrived the end of the hall. The 3-storey tall walls slide open, a cart magically flew towards them. Harry was expected to see lockers and rooms, but he was surprised to see a huge, dark cave that seemed never-ending, with twisting tracks leading to the deep void. He wondered, what treasure can he seek beneath.

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9. Grimmauld Place

Harry thought, and no sooner had he rached the part about number twelve, Grimmauld Place, than a battered door emerged out of nowhere between numbers eleven and thirteen, followed swiftly by dirty walls and grimy windows. It was as though an extra house had inflated, pushing those on either side out of its way. Harry gapedd at it. The stereo in number eleven thudded on. ////////////// Excerpt from Harry Potter and the Order of the Phoenix (2003), by JK Rowling. ////////////// Model interpretation of the opening of 12 Grimmauld Place. ////////////// Makers: ////////////// Mary Hou Luke Kim Edward Yee Danny Zou Duncan Crowe ////////////// Analysing the descriptive text of the No. 12 Grimmauld Place; 3 main concepts were driven which include the idea of Reveal and contrast, Power and Heritage and Ambiguity (Fear and Hope). To exaggerate the depth of the corridor as the model opens, the set was built with a forced perspective. Ornamentation has been utilised to represent weath and power within the Black family. The warm dining room was placed at the end of the corridor, transitioning from what was once dark magic to now the Order of the Phoenix.

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10. Grimmauld Place

Harry thought, and no sooner had he rached the part about number twelve, Grimmauld Place, than a battered door emerged out of nowhere between numbers eleven and thirteen, followed swiftly by dirty walls and grimy windows. It was as though an extra house had inflated, pushing those on either side out of its way. Harry gapedd at it. The stereo in number eleven thudded on. ////////////// Excerpt from Harry Potter and the Order of the Phoenix (2003), by JK Rowling. ////////////// Model interpretation of the opening of 12 Grimmauld Place. ////////////// Makers: ////////////// Mary Hou Luke Kim Edward Yee Danny Zou Duncan Crowe ////////////// Analysing the descriptive text of the No. 12 Grimmauld Place; 3 main concepts were driven which include the idea of Reveal and contrast, Power and Heritage and Ambiguity (Fear and Hope). To exaggerate the depth of the corridor as the model opens, the set was built with a forced perspective. Ornamentation has been utilised to represent weath and power within the Black family. The warm dining room was placed at the end of the corridor, transitioning from what was once dark magic to now the Order of the Phoenix.

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11. Flourish and Blotts

They bought Harry’s school books in a shop called Flourish and Blotts where the shelves were stacked to the ceiling with books as large as paving stones bound in leather; books the size of postage stamps in covers of silk; books full of peculiar symbols and a few books with nothing in them at all. Even Dudley, who never read anything, would have been wild to get his hands on some of these. ////////////// Excerpt from Harry Potter and the Philospher’s Stone (1997), by JK Rowling. ////////////// Model interpretation of the interior of Flourish and Blotts. ////////////// Makers: ////////////// Shreyaa Shah Archana Karunan ////////////// The design of the book store focused on evoking an old-world charm. Looking at cathedrals in London and Spain as references, the design of the bookstore features vaulted ceilings with intricate patterns to play on light and shadow in the space. The vaults were used to frame the interior of the model, as well as create mezzanine levels, so people could peer down at book signings. The vaults are lit from within, creating a magical quality to the space.

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12. Ollivanders Wand Shop

The last shop was narrow and shabby. Peeling gold letters over the door read Ollivanders: Makers of Fine Wands since 382 BC. A single wand lay on a faded purple cushion in the dusty window. A tinkling bell rang somewhere in the depths of the shop as they stepped inside. It was a tiny place, empty except for a single spindly chair which Hagrid sat on to wait. Harry felt strangely as though he had entered a very strict library; he swallowed a lot of new questions which had just occured to him and looked instead at the thousands of narrow boxes piled nearlt right up to the ceiling. For some reason, the back of his neck prickled. The very dust and silence in here seemed to tingle with some secret magic. ////////////// Excerpt from Harry Potter and the Philospher’s Stone (1997), by JK Rowling. ////////////// Model interpretation of the interior of Ollivanders Wand Shop. ////////////// Makers: ////////////// Ping Meng Zou Sheng ////////////// The design of the main shelf of the wand store focused on a circular space, enclosing the customer. It is tall, hinting that the thousands of wands that lie in the store. There is a single spindly chair, and a table. A thousand wand boxes of differing sizes were made to fill the space, and flow onto the surrounds.

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13. Ollivanders Wand Shop

The last shop was narrow and shabby. Peeling gold letters over the door read Ollivanders: Makers of Fine Wands since 382 BC. A single wand lay on a faded purple cushion in the dusty window. A tinkling bell rang somewhere in the depths of the shop as they stepped inside. It was a tiny place, empty except for a single spindly chair which Hagrid sat on to wait. Harry felt strangely as though he had entered a very strict library; he swallowed a lot of new questions which had just occured to him and looked instead at the thousands of narrow boxes piled nearlt right up to the ceiling. For some reason, the back of his neck prickled. The very dust and silence in here seemed to tingle with some secret magic. ////////////// Excerpt from Harry Potter and the Philospher’s Stone (1997), by JK Rowling. ////////////// Model interpretation of the interior of Ollivanders Wand Shop. ////////////// Makers: ////////////// Ping Meng Zou Sheng ////////////// The design of the main shelf of the wand store focused on a circular space, enclosing the customer. It is tall, hinting that the thousands of wands that lie in the store. There is a single spindly chair, and a table. A thousand wand boxes of differing sizes were made to fill the space, and flow onto the surrounds.

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14. The Shrieking Shack

‘Harry,’ she whispered. ‘I think we’re in the Shrieking Shack.’ Harry looked around. His eyes fell on a wooden chair near them. Large chunks had been torn out of it; one of the legs had been ripped off entirely. ‘Ghosts didn’t do that,’ he said slowly. ////////////// Excerpt from Harry Potter and the Prizoner of Azkaban (1999), by JK Rowling. ////////////// Model interpretation of the exterior of the Shrieking Shack. ////////////// Makers: ////////////// Chenggao Li Haotian Wu Zichao Zhu Siyang Wan Xinhui Xu ////////////// The model uses imagery of shacks from the English countryside, using broken wooden elements. The broken panels represent the terrible journal that Lupin underwent in his transformation into a werewolf. ////////////// There was a focus on creating a model outcome that showed a broken, shaking and creaking style, and a structure that looked like it was held up by magic, and buffered by the wind.

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15. The Shrieking Shack

‘Harry,’ she whispered. ‘I think we’re in the Shrieking Shack.’ Harry looked around. His eyes fell on a wooden chair near them. Large chunks had been torn out of it; one of the legs had been ripped off entirely. ‘Ghosts didn’t do that,’ he said slowly. ////////////// Excerpt from Harry Potter and the Prizoner of Azkaban (1999), by JK Rowling. ////////////// Model interpretation of the exterior of the Shrieking Shack. ////////////// Makers: ////////////// Chenggao Li Haotian Wu Zichao Zhu Siyang Wan Xinhui Xu ////////////// The model uses imagery of shacks from the English countryside, using broken wooden elements. The broken panels represent the terrible journal that Lupin underwent in his transformation into a werewolf. ////////////// There was a focus on creating a model outcome that showed a broken, shaking and creaking style, and a structure that looked like it was held up by magic, and buffered by the wind.

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16. The Shrieking Shack

‘Harry,’ she whispered. ‘I think we’re in the Shrieking Shack.’ Harry looked around. His eyes fell on a wooden chair near them. Large chunks had been torn out of it; one of the legs had been ripped off entirely. ‘Ghosts didn’t do that,’ he said slowly. ////////////// Excerpt from Harry Potter and the Prizoner of Azkaban (1999), by JK Rowling. ////////////// Model interpretation of the exterior of the Shrieking Shack. ////////////// Makers: ////////////// Chenggao Li Haotian Wu Zichao Zhu Siyang Wan Xinhui Xu ////////////// The model uses imagery of shacks from the English countryside, using broken wooden elements. The broken panels represent the terrible journal that Lupin underwent in his transformation into a werewolf. ////////////// There was a focus on creating a model outcome that showed a broken, shaking and creaking style, and a structure that looked like it was held up by magic, and buffered by the wind.

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17. The Great Staircase

There were a hundred and forty-two staircases at Hogwarts: wide, sweeping ones; narrow, rickety ones; some that led somewhere different on a Friday; some with a vanishing step halfway up that you had to remember to jump. Then there were doors that wouldn’t open unless you asked them politely, or tickled them in exactly the right place, and doors that weren’t really doors at all, but solid walls just pretending. It was very hard to remember where anything was, because it all seemed to move around a lot. ////////////// Excerpt from Harry Potter and the Philospher’s Stone (1997), by JK Rowling. ////////////// Model interpretation of the interior of the Great Staircase ////////////// Makers: ////////////// Zarrin Salami Zhenyi Jiang Hao Lin Xiaohan Liu Bin Wang ////////////// The focus of the model was to emulate the mystery surrounding the events leading up to the opening of the Chamber of Secrets. As the petrified victims of the basilisks are found and the blame directed upon Harry, a sense of eeriness falls over Hogwarts. The scene uses moving staircases in different planes to create a sense of chaos through the vortex-like set. Similarly the contrast between darkness and light mimics the sense of mystery.

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1 Video

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Smoke and Mirrors - Behind the Scenes

Behind the Scenes making-of the models, video by Aengus Cassidy

Description

Smoke and Mirrors is a summer intensive at the Melbourne School of Design and explores the intersection of stage sets, miniatures, architecture and narrative driven design. Utilising spatial analysis of film sets and literature, the animated artefacts are a product of the digital and physical born from rapid prototyping (laser-cutting), digital fabrication techniques and model-making.

Teams were tasked with designing and fabricating an animated set model based on sourced material. Using techniques and discussions learnt over the course of 12 days, they explored the use of model making and designing through the lens of a camera. Highly detailed models were creating using a mixture of intricately laser-cut pieces, hand modelling, and lights and motors and used in-camera effects such as forced perspective.

Smoke and Mirrors explores the intersection of stage sets, miniatures, architecture and narrative driven design. Utilising spatial analysis of film sets and literature, the animated artefacts are a product of the digital and physical born from rapid prototyping (laser-cutting), digital fabrication techniques and model-making.

Teams were tasked with designing and fabricating an animated set model based on sourced material. Using techniques and discussions learnt over the course of 12 days, they explored the use of model making and designing through the lens of a camera. Highly detailed models were creating using a mixture of intricately laser-cut pieces, hand modelling, and lights and motors.

This studio was led by architect Jannette Le, and tutors Michael Mack, Mond Qu and Denis Vlieghe and shows independent scenes that centralise around the wizarding world of magic.

The works will be exhibited at The Melbourne School of Design until 24th March 2019.

Makers:
Project: Gringotts
Paul Yap En Hao
Hylin Lam
Ka Wing Karen Tsui
Hoi Yin Ho
Kye Yuan Choong

Project: Ollivanders Wand Shop
Ping Meng
Sheng Zou

Project: The Shrieking Shack
Chenggao Li
Zichao Zhu
Haotian Wu
Siyang Wan
Xinhui Xu

Project: The Burrow
Andrew Rahman
Zoe Jo Bratcher
Alison Hammer
Wei Lyn Song
Edwin Jupp

Project: Flourish and Blotts
Archana Karunan
Shreyaa Shah

Project: Grimmauld Place
Edward Yee
Duncan Crowe
Mary Hou
Daniel Zou
Luke Kim

Project: The Chamber of Secrets
Sara Tan
Ying Ruey Lee
Yohanes Richo Wirawan
Juan Carlos Planells
Mengli Pi

Project: The Great Staircase
Bin Wang
Hao Lin
Zhenyi Jiang
Zarrin Salami
Xiaohan Liu

Questions and Answers

Key products used:

Students were given 1.0mm and 0.6mm boxboard to create their models from. They made use of trace paper (for windows and diffused lights) and LED lights and motors connected to Arduinos.

What was the brief?

We put together briefing documents for 8 scenes from Harry Potter, with client information, quotes from the books, and some reference imagery. We tried to replicate, but in a more fun way, when a client approaches your architecture practice with a pinterest board of ideas and you have to distill them into a design. You can use the ideas pack as a reference, but you can't copy from it. The students used this information to design their versions of the scenes described as miniature objects or sets, but we only let them use brown card (because challenges are fun!)

Who are the clients and what's interesting about them?

We selected characters from JK Rowling's Harry Potter series and scoured through the books, movies and Pottermore to build a client profile. Students then studied these characters and designed the spaces to reflect how the characters would have used the space.

What were the key challenges?

Students had only 11 day to design, build and fabricate their models. Over 400 hours of laser cutting was completed to fabricate the models, and for one, 700 boxes were hand-cut to fill Ollivanders Wand Shop!

Details

Completion date

2019