Table of Contents

1. Case Study: From Legend to Phoenix

1.1 Real Fake Construction

1.1.1 Tectonic Illusion. Structural Inauthenticity:

1.1.2 Design: Three building types

1.2 Demolition

1.2.1 Reduced to a Subterranean Existence

1.2.2 MSG

1.3 Restoration: From Legend to Phoenix

1.3.1 Farley Post Office Conversion

1.4 Cinematic City; Films featuring Penn Station, NY:

The Clock -1945 by Vincent Minnelli (Hollywood Soundstage)

Strangers on a Train -1951 by Alfred Hitchcock (Real location)


2. RECON: The Ruins of the Universe are Stored in Warehouse for Sets


3. Film: Two Tendencies

3.1 Lumière Brothers: Realist Tendency

3.1.1 Films: Arrival of a train

3.2 Melies: Staged illusionist; Fantastic Scenery

3.2.1 Film: An impossible voyage


4. New York, Cinematic Cities

4.1 Shooting in Studio: Geographical license

4.1.2 City Backlot

4.1.3 Historical Context

4.1.4 Staged Realities; Cardboard Reality; Simulacra

4.1.5 Architecture can be played at infinitum; free of the functional requirements.

4.1.6 New York city is imagined

4.1.7 Films

Metropolis, 1927

Just Imagine, 1930

Child of Manhattan, 1933

42nd Street, 1933


4.2 Realistic Tendencies / Shooting in Real Location

4.2.3 Historic Context

4.2.4 The City becomes the Soundstage

4.2.5 Un-Staged Reality

4.2.6 Existing Architecture use as Backdrop

4.2.7 Film as historic record of the city

4.2.8 The production and consumption of space: the city as a meta-space.

4.2.9 Films

The Naked City, 1948

Manhattan, 1979

Taxi Driver, 1976


5. Episode 1

Comment on how we see and experience the city through the envelope of our previous fictive experiences.

5.1 Plato’s Allegory of the Cave

5.2 Uncompleted City

5.3 Cinematic City Projections into the city


6. Episode 2

Comment on how architecture starts reacting to the film medium

6.1 Ultimate Architecture Reaction to the Film medium

6.2 The ‘Wall-screen’

6.3 The City Disappearance

6.4 The ultimate opening, the Screen interface

6.5 Immaterial Architecture

6.6 Architecture is only a movie’ the city is no longer a theatre but the cinema of city lights.

Text: Paul Virilio

The Aesthetics of Disappearance

Lost Dimension. New York: Semiotext(e), 1991.

The Overexposed City


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