Architectural Deconstruction / Construction / The Stage Set Architecture
1st Architectural Reaction to the Medium
I am kino-eye. I am a builder. I have placed you, whom I’ve created today, in an extraordinary room, which did not exist until just now when I also created it. In this room there are twelve walls shot by me in various parts of the world. In bringing together shots of walls and details, I’ve managed to arrange them in an order that is pleasing and to construct with intervals, correctly, a film-phrase which is the room_ Dziga Vertov, 1923
The physical city in film is waiting to be deconstructed, and eventually transformed to suit the story. Film plays with isolated fragments of a given reality.
Pieces of architecture are ripped out of time and jumbled together in a film-phrase.
In order for the world to flicker on film, it is first cut to pieces in the film city. Dismantling of the world’s contents is radical. Its interconnections are suspended, its dimensions lost.
The ruins of the universe are stored in warehouses for sets, representative samples of all periods, peoples, and styles. The old and the new, copies and originals, are piled up in a disorganized heap like bones in catacombs.
Architecture is stretched and shortened, pieced together like the little stones of a mosaic. Instead of leaving the world in its fragmented state, one reconstitutes a word out of these pieces. The objects that have been liberated from the larger context are now reinserted into another one.
Perception: Uncompleted Reality / Overlay with Fictive Experiences
We Reconstruct the urban fabric of the Deconstructed city, projecting images of previous fictive experiences.
The Image of the City cannot be completed without the projection of our previous fictive experiences of the Cinematic City. We will never be able to see the city beyond the envelope of our previous fictive experience. Movies influence the way we construct images of the world and the way we operate within it.
Architectural Dissolution / No border between Cinematic City and Reality
2nd Architectural Reaction to the Medium
The integration of our projections of the cinematic city into the physical reality end up with the City Disappearance, converting the wall into the immaterial state of the screen-ultimate window. The ‘Wall-screen’
With the final integration of the screen and immateriality as a building material, the borders between both worlds disappear. The light of projection has melted them together.
The ancient streets disappear and the city is erased, the screen has replaced the square, architecture dematerializes, dimensions are lost. The Door, the Window and the ultimate opening, the Screen, have translated the ‘three dimensions of the constructed space into the two dimensions of a screen interface’.
Cinema substitutes material space for a new immateriality, ‘from now on, in the time of cinematographic, architecture is only a movie’ the city is no longer a theatre but the cinema of city lights.
I’m going to upload the main three images-visions of each episodes as soon as I finish them…