The Cinematic City
‘’Using Film Montage to Create transitions through Architectural Space’’
- My inspiration and point of reference is to use Pinewood film studios as a cultural factory, as such I began to explore the production process used in motion pictures. Instead of focusing on film narrative or the sets in which the story takes place, I was interested in the various narratives that exist during the process of filmmaking; The sub-narratives, which create the story leading to the final stage of the production line.
- Here the model illustrates a horizontal plane where only the director (can move through seamlessly and through the process of production, is broken down into a world consisting of performance spaces, separated by doors. In the process, creating a path in which the viewer travels from door to door, room to room and creates one continuous narrative, which is the making of a film.
- The model shows a continuous planametric surface, which is organized through the vertical elements and thresholds one must pass through. The door becomes the editor at the moment of transition from one space to the other.
- However, what was interesting for me is that in reality this factory uses the door as a threshold to pass through from space to space, where the tool they are using in order to make their product, which is the film, is the erasure of threshold.
- When watching a film, the absence of visual continuity seems natural, since we perceive (understand) film narrative through fragments. In film we are dealing with immediacy, an instantaneous jump from one space to another, there is no threshold. In film we are also dealing with sequence. An interesting experiment to indicate the usefulness and effectiveness of film editing, is the Kuleshov Effect, a mental phenomenon by the Soviet filmmaker Lev Kuleshov. by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.
- So I was intrigued by the idea that in the Factory of pinewood studios and its product, where in the first one the threshold is not there and in the other one the threshold is there, both work in a sequence and create continues narratives through fragments.
- Having these questions about thresholds and sequence, my project is looking at the Architect as project. The Architect is the Factory that has the knowledge and the ability to constantly produce not only one type of space but many types of architectural spaces. Like pinewood which provides the equipment to produce any type of film. The role of the Architect becomes similar to that of the director where the question is how his streaming and find links from one scene to the other.
- The product of this factory is transitional spaces that I am using to question how we as architects move forward from project to project.
- At the end of an Architect’s carrier he might end up building several buildings but the building should never be the product. The building is the product through which the architect attempts to answer a question.
- What I am really trying to examine is the issue of thresholds, editing and sequencing.
- We as architects so often kind of neglect the in-between space so how do we use that productively, how do we construct architecture as scenes of buildings, not one building.
- The singular doesn’t matter but the sequence together. Nothing exists in isolation everything exists and is part of the sequence.
- What really matters more in terms of the arc is the relationship between the project that proceeds it and the project that follows it.
- What I have designed is 15 fragments of buildings or rooms, which are conventionally considered the realm of architectural production; the product in itself is not really as relevant as the questions I am using to stream them together. These fragments could be any type of building or room that the architect is dealing with.
- I just pick them because these where my references through out the year.
- My rooms are: the Artist studio, the space of the Factory, the room, the open plan office, the traditional Japanese room, the terrace, the elevator, the building block, the court yard, the corridor, the directors room, the green room, the film stage and the cinema.
- So my question now is what could happen if I could design this mechanism that would link them, what would this mechanism be?
- Using as a starting point my first model where I used the door as a threshold to move from one space to the other, I wanted to explore more what the door does in architectural terms.
- Reading the text Figures Doors and Passsages by Robin Evans, I realized how much the door has shaped how we talk about architecture today.
- Here in this drawings we have the conditions of the super compartmentalize experience where the door is responsible for the organization of space.
- The more doors, the more thresholds we add on to a room the more we change the conversation between the horizontal plane and the vertical plane.
- So I started thinking what if I have a space that is not organized by the door. So I thought about the traditional Japanese room. Where the tatami room has this condition of the horizontal plane that unifies the space because the threshold is not only horizontal but is also vertical, without the vertical being physically there. In this case the horizontal is responsible for the organization of space.
- So in my project I wanted erase the door as much as possible and translate (substitute it) it with something else, in order to sequence all of of these spaces together.
- I want to remove any type of threshold like the film does. Because when we put the door what we really doing is putting up walls and corridors and as a result we are constantly negotiating spaces by in-between purposeless spaces.
- What I am proposing is a spatial mechanism that links all the spaces together and in a cinematic way it allows us to move from project to project from room to room.
- This mechanism exist only in the form of ‘’half drawings’’.
- The Tool which this mechanism works is the scale of the horizontal plane.
- All of the spaces have as a common reference an axonometric horizontal plane, which according to which scale you are reading this plane, the drawing instantaneously takes you to another space.
- The way you are going to position these drawings one against the other each time is going to give you another spatial condition.
- This mechanism can give me endless possibilities of these conditions.
- The film it manages to zoom in and zoom out , it offers you a different perspective of the thing without having you to change anything.
- Similar to the film what I am doing is changing the perception of the space by using the scale.
- By doing this I erased the door and now the relationship between the horizontal plane and the vertical is not any more defined by the door but by the scale of the horizontal plane.