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Co-Chairs Dr. Vahid Vahdat Dr. Gregory Marinic Associate Editor Dr. Shermeen Yousif Graphic Design Cayla Turner ©2019 ARCHITECTURE & FILM SYMPOSIUM
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Welcome Film is a dynamic representational medium offering the ability to collapse time and compose visual narratives frame-by-frame. Like cinematography, architecture engages spaces within the view frame as well as the ambient effects of spaces beyond. In both practices, time may be translated into measures of movement and occupancies of space. Apart from architecture informing scenography and cities serving as backdrops for moving images, film discourses have actively participated in shaping and critiquing urbanism, architecture, and interiors. And while architecture and design may not necessarily be central themes in a film, their latent influences inform cinematic processes of thinking and making. In his book, The Architecture of Image: Existential Space in Cinema, Juhani Pallasmaa explored the shared experiential territory of architecture and cinema through existential space. Building upon this analogous relationship between cinematic processes and built form, the 2019 Architecture & Film Symposium, Of performance, explores ideas that intersect at the development of concept, context, and making in the overlapping domains film and architecture. It offers a critical forum for presenting creative practices and scholarship of historical, theoretical, speculative, and realized work involving film, architecture, and design. It endeavors to promote innovation in design theory, pedagogy, and practice. The symposium adopts cinematic representations of the built environment as a lens for interdisciplinary theoretical debate. It interogates the filmic capacity to produce virtual spatial experiences as a form of design experimentation. Focusing on actions of joining form and space with materiality and movement, Of performance investigates transnational conditions between architecture and film at the scale of buildings, interior spaces, and the city. It centers on interdisciplinary research and collaborations that include, but are not limited to architecture, cinematography, scenography, spatial design, interior architecture, interior design, landscape architecture, urban design, adaptive reuse, preservation, industrial design, graphic design, fashion design, media studies, the humanities, and the performing arts.
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Editorial Board Submissions to the 2019 Architecture & Film symposium underwent a rigorous peer review process. Paper submissions were blind peer reviewed by a minimum of three scholars. The editorial board is comprised of an interdisciplinary group of scholars from around the world. Paramita Atmodiwirjo Universitas Indonesia
Pablo Meninato Temple University
Graeme Brooker Royal College of Art
Marian Macken The University of Auckland
Lorella DiCintio Ryerson University
Michael A. McClure University of Louisiana at Lafayette
Sarah Edwards RMIT University
Kevin Moore Auburn University
Ursula Emery McClure Louisiana State University
Diana Nicholas Drexel University
Nerea Feliz Arrizabalaga University of Texas at Austin
Deborah Schneiderman Pratt Institute
Farzaneh Haghaghi The University of Auckland
Brent Sturlaugson University of Kentucky
Harriet Harriss Royal College of Art
Olivier Vallerand Arizona State University
Susan Hedges Auckland University of Technology
Kevin Walker Royal College of Art
Maki Iisaka Texas A&M University
Yandi Andri Yatmo Universitas Indonesia
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Thank you The 2019 Architecture & Film Symosium was made possible by the generous support of the Glasscock Center for the Humanities Research Co-Sponsorship Grant, as well as grant funding from the Texas A&M University College of Architecture and the Department of Architecture. The co-chairs acknowledge the notable efforts of several collaborators including Dean Jorge Vanegas, Robert Warden, Dawn Jordan, Melinda Randle, Kevin Gustavus, and the Texas A&M University AIAS chapter. The co-chairs thank session topic moderators Stephen Caffey, Thomas K. Davis, Udo Greinacher, Daniel Humphrey, Maryam Mansoori, Andrew Tripp, and Shermeen Yousif for their service to the symposium. Texas A&M students Cayla Turner, Emily Majors, Maki Iisaka, and Nessrine Mansour offered generous assistance with graphic design, production, and event coordination.
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CONTENTS CONTENTS
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Schedule Overview 8
Schedule Details 12
PAPERS 15 Two Images of the City Modern Paris and Its Filmic Representation Jean Jaminet 16 The Ancient Roman Domus A Forum for Commodification of Space and Sexuality Helen Turner 17 Filmic Topographies Landscape as the Site of Character and Narrative Transformation – The Case of Central Park, as Told by Three Films Sadra Tehrani 18 The Cinematic Spaces of the Horizontal Metropolis The Image of Flemish suburbia Annelies Staessen 19 …and Out Come the Truths Premonition and Space in Jacques Tourneur’s ‘Cat People’ Marko Djurdjic 20 The Thickened Line Constructing exploratory sketches and mobile sections Rebekah Radtke and Gregory A. Luhan
21 Post-production of a Horizon A Collage Sequence for the Resor House Elena Rocchi 22 Architecture of a Film Matter in Reverse Maria João Soares, Susana Tavares dos Santos, João Miguel Couto Duarte 23 Back in Time A Journey Through Built Environments, and Back to the Future Mayet Andreassen 24 Inside-Out Reverse Engineering the Folded Interiority of Hugo’s Mechanical Urbanism Vahid Vahdat 25 Blending Realms Architecture’s Role in Utopia/Dystopia Film Michael J. Crosbie and Theodore Sawruk 26
MOVING IMAGES 27 Project XYZ Erin Cuevas 28 Performing Casa Malaparte Popi Iacovou
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29 Hops, Skips, and Jumps along MiLines Terah Maher, Mason Charanza, Courtney Bishop, Kelechi Chigbu, Cassady Fredriksen, Danton Kranz, Daisy Limon, Adam Nesbit, Spencer Reddick, Levi Rey, Katherine Sasu-Twumasi, Josiah Thomas, Kaitlyn Warmack, Richard Zamorano, and MaryAlice Torres-MacDonald 30 Animating Architecture Joseph Altshuler, Maddie Aragon, Yvonne Li, Choongyyn Nam, Vivi Cloe, Yutong Zhao, Baoying Zong, and Jacobo Zuazua 31 Off the Map Thomas Forget 32 Trax Charlott Greub, Elliott Klinger, Camille Ide, Kristin Clarksean 33 Dancing in Hell Yaoyi Fan and Zixy Zhan 34 Spatial Design and the iPhone Utilizing Students’ Cognizance of an Everyday Technology to Investigate Design Space Sheryl Kasak 35 Pulping the City 2019 John Maruszczak 36 Involuntary Architecture John Maruszczak
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PECHA KUCHA 39 Architecture in Cinema Hugo Christina Vaughn 40 Cinema and the Built Environment BeetleJuice Katie Reyes 41 Dubai Reconsidered Rebal Knayzeh 42 Six Devices for Reflective Gaze Analysis Generating Spatial Narrations from a Given Architecture Roxane Enescu 43 Blurred Limits Hitchcock’s Rear Window and the Shadows of Projections Alejandro Borges 44 Unfolded Architecture as Choreography Ashlie Latiolais 45 Architecture and Nostalgia in Hidden Man Portrayal of Life and Environment of the 1930s in Beijing Mingqian Liu 46 Floor Plan
Schedule Overview 8:00 AM
Registration opens
8:30 AM
Welcome and Introductions Robert Warden, Texas A&M University Overview of the Symposium Theme Vahid Vahdat & Gregory Marinic Co-Chairs, 2019 Architecture and Film Symposium
9:00 AM
Panel 1: Cinematic Cities Moderator: Thomas K. Davis University of Tennessee, Knoxville
10:15 AM
Break
10:30 AM
Panel 2: Memory, Identity & Space|Urban Suburban Moderator: Udo Greinacher University of Cincinnati
11:45 AM
Panel 3: Framed Architecture Moderator: Maryam Mansoori Texas A&M University
12:30 PM
Lunch | Geren Auditorium Lobby
1:45 PM
Panel 4: Utopia, Dystopia & Scifi Urbanism Moderator: Stephen Caffey Texas A&M University
3:00 PM
Panel 5: Moving Image Moderator: Andrew Tripp Texas A&M University
4:45 PM
Break
5:00 PM
Panel 6: Pecha Kucha Moderator: Shermeen Yousif Texas A&M University
6:00 PM
Screenings Moderator: Daniel Humphrey Texas A&M University
7:30 PM
Dinner | University Club at Rudder Tower Architecture & Film Symposium
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Schedule Details SATURDAY, MAY 4, 2019 8:00 AM
8:30 AM Opening Session
9:00 AM Panel 1. Cinematic Cities Moderator: Thomas K. Davis University of Tennessee Knoxville
10:15 AM
10:30 AM Panel 2. Memory, Identity, & Space | Urban Suburban Moderator: Udo Greinacher University of Cincinnati
Registration open Welcome and Introductions Robert Warden Department Head, Department of Architecture, Texas A&M University Overview of the Symposium Theme Vahid Vahdat & Gregory Marinic Co-Chairs, 2019 Architecture and Film Symposium Two Images of the City: Modern Paris and Its Filmic Representation Jean Jaminet Kent State University The Ancient Roman Domus: A Forum for Commodification of Space and Sexuality Helen Turner University of Kentucky Filmic Topographies: Landscape as the Site of Character and Narrative Transformation – The Case of Central Park, as Told by Three Films Sadra Tehrani Penn State University Break The Cinematic Spaces of the Horizontal Metropolis: The Image of Flemish Suburbia Annelies Staessen Ghent University …and Out Come the Truths: Premonition and Space in Jacques Tourneur’s ‘Cat People’ Marko Djurdjic York University The Thickened Line: Constructing Exploratory Sketches and Mobile Sections Rebekah Radtke Gregory A. Luhan University of Kentucky
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11:45 AM Panel 3. Framed Architecture Moderator: Maryam Mansoori Texas A&M University 12:30 PM
1:45 PM Panel 4: Utopia, Dystopia, & Scifi Urbanism Moderator: Stephen Caffey Texas A&M University
3:00 PM Panel 5: Moving Image Moderator: Andrew Tripp Texas A&M University
Post-Prodcution of a Horizon: A Collage Sequence for the Resor House Elena Rocchi Arizona State University Architecture of a Film: Matter in Reverse Maria João Soares Susana Tavares dos Santos João Miguel Couto Duarte Universidade Lusíada de Lisboa Lunch | Geren Auditorium Lobby Back in Time: A Journey Through Built Environments and Back to the Future Mayet Andreassen Texas A&M University Inside-Out: Reverse Engineering the Folded Interiority of Hugo’s Mechanical Urbanism Vahid Vahdat Texas A&M University Architecture’s Role in Utopia/Dystopia Film Michael J. Crosbie Theodore Sawruk University of Hartford Project XYZ Erin Cuevas University of Southern California Performing Casa Malaparte Popi Iacovou University of Cyprus Hops, Skips, and Jumps along MiLines Terah Maher, et al. Texas Tech University Animating Architecture Joseph Altshuler et al. School of the Art Institute of Chicago Off the Map Thomas Forget University of North Carolina at Charlotte Trax Charlott Greub, Elliott Klinger, Camille Ide, Kristin Clarksean North Dakota State University Dancing in Hell Yaoyi Fan and Zixy Zhan
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Cooper Union Spatial Design and the iPhone Sheryl Kasak Pratt Institute Pulping the City 2019 John Maruszczak University of Texas at Arlington Involuntary Architecture John Maruszczak University of Texas at Arlington 4:45 PM
5:00 PM Panel 6: Pecha Kucha Moderator: Shermeen Yousif Texas A&M University
6:00 PM Screenings Moderator: Daniel Humphrey Texas A&M University 7:30 PM
Break Architecture in Cinema: ‘Hugo’ Christina Vaughn Texas A&M University Cinema and the Built Environment in BeetleJuice Katie Reyes Texas A&M University Dubai Reconsidered Rebal Knayzeh Academy of Art University Six Devices for Reflective Gaze Analysis: Generating Spatial Narrations from a Given Architecture Roxane Enescu Université libre de Bruxelles Blurred Limits Alejandro Borges Texas A&M University Unfolded: Architecture as Choreography Ashlie Latiolais University of Louisiana – Lafayette Architecture and Nostalgia in Hidden Man: Portrayal of Life and Environment of the 1930s in Beijing Mingqian Liu Texas A&M University New Work: City Symphony Films in 3D Marylou & Jerome Bongiorno Mies On Scene. Barcelona In Two Acts Xavi Campreciós, Pep Martín, Ivan Blasi Dinner | University Club at Rudder Tower
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PAPERS PAPERS
Two Images of the City Modern Paris and its Filmic Representation Jean Jaminet
Kent State University Paris’s history of radical urban transformation can be alternatively framed by a paradigmatic shift that occurred within the discipline of film. This paper presents a historical and theoretical crosscut study that considers the developments in urbanization that occurred in Paris before and after World War II. These developments, specifically in relation to Paris’s unique center-periphery condition, parallel the theoretical implications of the pre-war and post-war cinematographic image. This alternative understanding of Paris’s urbanization is examined in relation to two films: Pierre Chenal’s L’architecture d’aujourd’hui (1930) and Jaques Tati’s Playtime (1967). Two distinct images of the modern city and its architecture emerge that are illustrated and analyzed in terms of Colin Rowe’s notions of literal and phenomenal transparency and Gilles Deleuze’s insights into narrative and non-narrative cinema. The framing and centering of the subject in Chenal’s montage sequence and Tati’s sequence shot are analogous to their respective images of the city. The phenomenal transparency of the montage sequence characterizes the fragmentation between the city and its suburbs, reflecting the inability of pre-war utopian strategies to reclaim control over the urban environment and the complex movement patterns of its subject. Conversely, sensory techniques utilized in the sequence shot simulate literal transparency, creating a complex notion of urban interconnectivity that can only be offered by the post-war modern city. The intention of this inquiry, much like film editing or architectural drawing, is to provide a crosscut or cross-section that creates parallels and diversions to present alternative associations between the developments in urbanization and the effects of modernism on the city.
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The Ancient Roman Domus A Forum for Commodification of Space and Sexuality Helen Turner
University of Kentucky The ancient Roman house, or domus, was an expression of identity and status. It served as the medium through which the inhabitant family constructed its place in Rome through a carefully framed view of the domestic interior. It combined and layered personal, familial, and civic identities through spatial sequencing and decoration. Appropriated for contemporary entertainment and veiled in comedic effect, the ancient Roman domus provided a setting for the 1960s film, A Funny Thing Happened on the Way to the Forum, that metaphorically invited viewers into the ancient Roman home, where space and decoration were engaged as active agents in the cinematic narrative. Referencing third century Plautine plot and character coupled with commodification of domestic space and female sexuality, a duality demonstrated acculturation of stereotypical associations. Following this framework, a series of dualities, including ‘Domus and Setting’, ‘Interior Architecture and Farce’, ‘Space and Gender’, and ‘Decoration and Sexuality’ have the potential to connect, compare, and critique ancient Roman space, as well as rituals that manifest Western cultural values. The result is an analysis of cinema as a visual artifact of popular culture providing methods for understanding how ancient place is translated through contemporary filters as a reflection of present society.
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Filmic Topographies Landscape as the Site of Character and Narrative Transformation – The Case of Central Park, as Told by Three Films Sadra Tehrani
Pennsylvania State University Landscape and space can be considered as not only the foundation for a film’s narrative, but also one of its primal agents in forming the audiences’ desire to relating to the moving image. In three films (Portrait of Jennie, 1948; Manhattan, 1979; Leon the Professional, 1994) I show how characters and locations – specifically Central Park – operate within analogous structures to drive the story. The particularities of each film and their relation to Central Park require an analysis of common archetypal and topological drives and motives; and specific formal expressions of “motive structures” in both the characters and Central Park. The concept of a character that is a composite of both father figure and romantic lover dominates all three films. Although there are varying degrees of paternity and romanticism in the examples, the transformation of relationships in either intensity and/or quality remains constant. In all three examples, Central Park becomes the main site of this transformation either as a main plot point or in representation throughout the film. These films adequately demonstrate the dual nature of a figure who is both a father and a lover. The balance between father and lover varies in the examples, but the effectiveness to transform relationships, either in intensity or quality, remains constant. Central Park is the key to this effectiveness, so it is not an essential factor, not only as a backdrop or set but a place of transformation.
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The Cinematic Spaces of the Horizontal Metropolis The Image of Flemish Suburbia Annelies Staessen Ghent University
Perceptions, including their cinematic representations, have an influence on the evolutions of spaces. They influence the way we understand what spaces and places mean. This research assumes that cinematic space reflects the intrinsic characteristics, the experience value, and the typical dynamics of space. Prevalent perceptions of the Flemish urbanized landscape, a highly fragmented settlement structure resulting from uncontrolled development, are widely divergent. On the one hand, urban planners and policy makers struggle to handle the congestion of this space as a horizontal metropolis. On the other hand, the pervasive suburban dream of a detached single-family house and its garden is strongly embedded in the Flemish cultural identity. Suburban allotments of Flanders conflict with plans for reducing the widespread sprawl. This research regards film as a unique representational medium, and thus, a tool to discover a more nuanced image mediating between the planological opinion and everyday experience of suburbia. The contemporary Flemish fiction films Violet (Bas Devos, 2014), Fucking Suburbia (Jeff Otte, 2012) and Nowhere Man (Patrice Toye, 2008) all engage the specific suburban conditions in Flanders. A cinematic analysis of these films in their reflection and relation to the discourse of urbanists and planners reveals a nuanced position regarding suburbia.
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…and Out Come the Truths Premonition and Space in Jacques Tourneur’s ‘Cat People’ Marko Djurdjic York University
Cat People, a were-tale of traumatized Irena Dubrovna trying to balance animalistic urges with her need for human connection and love, uses diegetic spaces and props as premonitory tools that reveal more than they conceal. The film’s tragic finale actualizes the figurative spatial and physical elements— including statues, paintings, and furniture—as the narrative unfolds. Through art, dreams, memories, and fantasies, the film’s representational spaces and their design evokes Irena’s dueling identities, both the internal-mental and the external-material. Conflict arises when the trauma evoked by the place occupied by Irena in the past (her village in Serbia) bleeds into the present (a generic American cityscape). Here, her past is a veritable nightmare; it clashes with her present, where the notion of the ‘American Dream’ is represented by the eventual union between her husband Oliver and his colleague (and Irena’s foil), Alice. Through four essential pieces in Irena’s home--a statue of King John of Serbia, a Francisco Goya painting, a panther-adorned Byōbu, and a birdcage-this paper outlines how these various elements become realized, transgressing from the allegorical and metaphorical to become actual. By subjecting figurative language to the needs of the narrative, Cat People explicitly and systematically reveals its ending throughout the course of the film with self-actualized spaces and objects.
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The Thickened Line Constructing Exploratory Sketches and Mobile Sections Rebekah Radtke and Gregory A. Luhan University of Kentucky
This paper presents a pedagogical case study that uses a hybridized collaborative learning framework to leverage the fundamental principles of the moving image with content-specific “deep dives” that heighten student learning, developmental expertise, and built environment knowledge. This research uses the metaphor of “the thickened line” as a repository of layered information for teaching collaborative design studios. In this context, “the thickened line” is an active device that integrates cinematic principles and mobile sections to enhance collaboration and improve design education. In a studio comprised of architecture and interior design majors, students explored collaboration through hybrid forms of multimodal communication to explore interiority and urbanity in two international cities. Employing a series of film-based pedagogical provocations, students developed the tools for understanding space through intuition and representation. Using the cultural contexts of Beijing and Cincinnati, students examined the meaning, perception, experience, and emotions of space as intentionally-delineated evidence for understanding architecture and design. The studio analyzed these urban spaces through film to provide formative opportunities for enhancing critical thinking, spatial observation, and cultural understanding. This pedagogical approach revealed sensitivity to the human experience within a built space and provided the fundamental basis for comparative studies between the cities. The knowledge gained from this study illustrates the broader impacts of this pedagogical approach, most notably, using filmic readings of place to translate lessons learned from one context to inform another. The research also showed that integrating filmic experiences of the built environment improved how students considered creativity at a variety of media and scales--from the urban plan to the streetscape to the spaces between buildings, interior environments, and details.
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Post-production of a Horizon A Collage Sequence for the Resor House Elena Rocchi
Arizona State University The idea of ‘frame’ exists in visual arts, film, and on stage as the boundary between the space that is and the one of everything else — the physical or virtual construction of reality that articulates what is inside from what is outside. It is in the frame where the author’s mind and the viewer’s perceiving eye unite. Within the broader framework of a doctoral thesis, the researcher is carrying out the idea of the frame as a designation suspended between theater, film, and architecture. This paper reflects on a primary research question: “How do we bring the concept of the visual frame into the physical space defined by architecture?” It does so by interfacing Mies van der Rohe’s three collages he made for the design of the Resor House in 1939; the grandeur format and simultaneous vision of Raoul Walsh’s movie The Big Trail of the late 20s; and the fragmentariness of Paul Klee’s ‘Gay Repast’ painting, part of Mies’s collage. One of the three collages by Mies van der Rohe — No. 716.63 — reveals how he uses quantifiable measures and materials to frame non-quantifiable sensations and imagination — a total work that describes the reality of experiencing the breadth of the Jackson Hole Valley. While reflecting on how the invention of the space of modern architecture goes hand in hand with new techniques of representation, the research reveals how “gaze” penetrates the surface of the screen by building a horizon as duration. Compared with a panoramic movie, the construction of a window frame can be intended as of the place of simultaneity-of the ineffable and the expressible.
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Architecture of a Film Matter in Reverse
Maria João Soares, Susana Tavares dos Santos, and João Miguel Couto Duarte Universidade Lusíada de Lisboa
This paper is based on a concrete experience: the conception and production of the documentary film Aires Mateus: Matter in Reverse (2017) directed by Henrique Pina. Researchers, architects, and cinematographic producers seek to reveal the reverse side of that experience. Reflecting on cinema is indissociable from thinking space or time. The latter two are dimensions that are rooted in the very essence of the cinematographic object. They are structural, and in architecture they are precisely the same. Reflecting on the structuring of architectural thought closely approximates cinematographic thought and viceversa. Hence, texts produced over the last one hundred years that examine the relationship between architecture and cinema – from Sergei Eisenstein to Juhani Pallasmaa – are not just the result of a whim on the part of the authors. In this context, we propose a journey to the interior of a film – a film that we helped to construct – to deconstruct it. The journey reveals its structural narrative and its architecture. This act of turning a film inside-out searches for specific processes of approximation of architecture to cinema. In this sense, understanding is gained from the architect’s point of view through the act of doing and devolving that very doing. It seeks to register an experience, while at the same time leaving it open. In other words, this paper is an experimental architecture of this film. Let us enter the architecture of a film and enter its matter in reverse.
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Back in Time A Journey Through Built Environments and Back to the Future Mayet Andreassen Texas A&M University
“Mise-en-scene can be defined as the articulation of cinematic space, and it is precisely space that it is about.” -Kolker
How does film represent, filter, manipulate, and alter our perception of the past, present, and future in the built environment? In the Back to the Future trilogy, mise-en-scene is used to manipulate the audiences’ perception of past, present, and future. Through the use of deliberately built environments and placed props, as well as the transformations in the depicted era’s, the representation of cultural differences and changes in our own society are shown through time. Through the Hill Valley Courthouse, a landmark to the time traversed during all three movies, the film audience becomes immersed within whatever point in history is being currently represented on screen with the aid of the production design.
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Inside-Out Reverse Engineering the Folded Interiority of Hugo’s Mechanical Urbanism Vahid Vahdat
Texas A&M University Train stations, as art historians would attest, have been a source of inspiration for many artists and cinematographers alike. For Martin Scorsese’s Hugo (2011), they offer an opportunity to cinematically depict the collage city in a manageable setting. The recreation of Gare Montparnasse, which housed Georges Méliès’ toyshop, was an outcome of a cinematic kitbashing process—an assemblage of “photographs of the original station, as well as bits and pieces from many other stations in Paris [… and] New York,” as Brian Selznick, the author of ‘Hugo Cabret’, would later confirm. The main drama of the film however does not occur at the locations that passengers habitually occupy at a train station. Rather, it takes place within the assumed pochés of the station, where the camera provides the viewer a peek into an interiority that is otherwise visually inaccessible. Once the camera peels the civic interiorities of the train stations, the viewers get a peek into the hidden infrastructure of a mechanical maze that houses the central narrative of the movie. The film, as voiced through its main character, maintains that “the whole world, is one big machine.” Hugo’s attempt to reverse engineer all objects (e.g. the automaton, the toy mouse, and the inspector’s prosthetics) to their mechanical parts extends to architecture and space. The architectural body of Gare Montparnasse is thus reimagined through the x-ray vision of the filmic apparatus as a playful, mechanical utopia of pipes, gears, beams, vents, chains, ducts, and stairs.
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Blending Realms Architecture’s Role in Utopia/Dystopia Film Michael J. Crosbie and Theodore Sawruk University of Hartford
This paper argues that over the course of nearly a century of the depiction of utopia and dystopia in film, these separate realms have steadily moved from being distinct architectural realms to a single, blended environment that can be read as either utopian or dystopian. Film uniquely offers the visual and auditory experience of utopia/dystopia through the presence of architecture that makes utopia or dystopia manifest. This paper examines film critiques forwarded by such scholars, historians, and commentators as Juhani Pallasmaa, Mark Lamster, Nezar Al-Sayyad, and Dietrich Neumann. There is an analysis of four films in the cinema of utopia/dystopia: Metropolis, Blade Runner, Brazil, and The Bothersome Man. The earlier films (Metropolis and Blade Runner) distinguish and portray utopia and dystopia as separate spatial realms within the film that can be read as exclusive of each other (they never overlap). The film Brazil signals a blending of utopian and dystopian realms. While still spatially separate, in Brazil both utopia and dystopia appear to look more alike than different, primarily through architectural elements that pervade both realms and give both distinguishing environmental features. These features are expressed as mechanical systems (ducts, pipes, wires) that signify the overbearing presence of a dysfunctional bureaucracy throughout both utopian and dystopian realms. Brazil’s suggestion that utopia and dystopia are equally tainted with a troubling presence is presented in The Bothersome Man as a single architectural environment that functions as both utopia and dystopia simultaneously. This is the product of multiple readings of a single space (utopian architecture can be dystopian, dystopian architecture can be utopian, depending on one’s experience of the same environment). The paper concludes with speculative questions as to whether this reading of architecture as simultaneously utopian or dystopian reflects Michel Foucault’s and Walter Russell Mead’s conceptions of heterotopia: utopia is a good place, dystopia is a bad place, and heterotopia is a different place--it dislocates and disorients, depending on one’s personal psychological makeup and the reading of the space.
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MOVING MOVING IMAGES IMAGES
Project XYZ Erin Cuevas
University of Southern California Project XYZ is a canon of short film and live performance pieces produced through collaboration between dance, film, and architecture. Five works are showcased in the submitted reel: Point, Line, Expansiveness: Changing Perspective, Gradient, and Frame. Each piece examines an affecting feedback system between humans and their digital and physical environments, where media circulates and evolves recursively through all three parties. Project XYZ creates interactions between dancers (human body), film-makers (digital media), and architects (physical space), studying movement, social interaction, and embodiment through immersive and interactive environments. The films Line and Gradient specifically focus on the use of storytelling in choreography, architecture, and film. In both pieces, dancers evoke a story through their movement, complemented by an interactive architectural component which evolves with the choreography. In Line, for example, twins work together to build a physical and emotional representation of their relationship by building up a spatial geometry constructed of elastic bands. The dancers begin with two lines and gradually construct a full web that diagrams the narrative through lineweights: the thinnest lines are ones constructed in the beginning, with wider lines being implemented at the end. The film team is able to capture the choreographic and spatial narrative by framing the relationship between each dancer and highlighting the spatial geometry they construct together.
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Performing Casa Malaparte Popi Iacovou
University of Cyprus Time-based media, such as photography, video, and mixed media animation techniques provide the technology of capturing space in time. However, the way animation and film techniques have been used in architecture so far, both in education as well as in the profession, is limited in its scope and implementation. These techniques act in two polarized directions; from photorealistic representations of not yet realized visions to the construction of fictional worlds not located in real sites. As an alternative to the most common uses of animation the proposed moving image project, Performing Casa Malaparte, explores the possibilities of time-based media to study existing buildings, as a form of reflective practice by working between ‘site’ analysis and design. Performing Casa Malaparte (11 minutes and 28 seconds) is an animated portrait of Casa Malaparte reconstructed after my visits and seven-day occupation of the house. It is made as a mixed-media animation, combining photography, video and digital drawing. The animation interprets the house’s compositional logic and animates spaces, views and fragments of it in a series of animated tableaux, each capturing a specific theme of the house: Raining Windows, Salon, T-Corridor, Writing Room, Boat. The result is an animated portrait that is not merely a photorealistic representation of the house. Part documentary and part fiction, it is a subjective reconstruction. Performing Casa Malaparte aims to go beyond the house’s common iconic image of its exterior. Rather, this portrait endeavors to show an intimate point of view of the interior, which has been neglected in academic research published on the house. Through my filmic work, I want to make visible the transient conditions of atmosphere, affect and imaginary, all outcomes of my encounter and temporal occupation of the house.
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Hops, Skips, and Jumps along MiLines
Terah Maher, Mason Charanza, Courtney Bishop, Kelechi Chigbu, Cassady Fredriksen, Danton Kranz, Daisy Limon, Adam Nesbit, Spencer Reddick, Levi Rey, Katherine Sasu-Twumasi, Josiah Thomas, Kaitlyn Warmack, Richard Zamorano, and MaryAlice Torres-MacDonald Texas Tech University
The short video, MiLines, attempts to locate the construction of a sequence of still images – more commonly known as animation – within the context of architectural representation, as a variation of experiential site mapping. The animation segments of MiLines were executed during an architectural study abroad program in Milan. As part of their site research for an architectural intervention, students created a storyboard and an animated video utilizing the technique of photographic replacements. Traditionally, replacement animation is the utilization of multiple stop-motion puppets, swapped out from one frame to the next to evoke movement. To mediate the differences between frames and create the illusion of formal integrity, the essential condition required of the body of images is sameness: first, in the registered alignment of the background surrounding primary figures, and second, in the establishment of formal threads between the changing scenes. Applying these visual principles to digitally edited animation, the term replacement animation has expanded from stop-motion puppets to dimensional animation methods such as photography; instead of alternating puppet heads, one photograph is swapped out for another. In photographic replacement animation, two metaphysical effects occur: simultaneity in time (different objects co-existing in the same space-time), and the compression of space (the collapse of measurable distances between images). These effects open the possibilities of a sequenced image montage to simulate cognitive maps of urban situations.
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Animating Architecture
Joseph Altshuler, Maddie Aragon, Yvonne Li, Choonghyun Nam, Vivi Cloe, Yutong Zhao, Baoying Zhong, and Jacobo Zuazua School of the Art Institute of Chicago
In opposition to a live performance, architecture is traditionally regarded as stationary and inert—according to one popular cliché, architecture is even described as “frozen music.” However, in today’s world, houses speak in first person via social media, cartoonish renderings of buildings combat complex forces of gentrification, and buildings play starring roles in films. These examples beckon us to augment the performative potential for architectural forms and spatial ideas to enact animate agency in the world. Architecture and design teaching need an expanded capacity to perform live. Whereas traditional forms of representation remain static, rehearsed in fixed pigment or pixels, how might architecture students and practicing architects leverage tactics from film and stop motion animation to engage lively audiences? This moving image compilation, developed in collaboration with first-year architecture students, projects new or alternative narratives surrounding existing landmark buildings in Chicago. Each segment leverages stop-motion techniques to exaggerate or undermine salient architectural features in order to conjure a fictional, animate identity for the existing architecture. Unlike the realism provided by more cinematic videos and sleek three-dimensional “fly-throughs,” the intentionally wonky and lower fidelity animation techniques invite audience participation and solicit the humor and spontaneity of live performance. The moving image features work created in collaboration with first-year architecture students at the School of the Art Institute of Chicago.
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Off the Map Thomas Forget
University of North Carolina at Charlotte Off the Map is an experimental motion picture analysis of urban complexity. It is a work-in-progress that will be completed in April 2019 (running time 15 minutes). The clips included in this submission are pre-production “sketches” executed in 2018 during preparations for the current production. The methodology of the video involves a catalog of relatively simple and classically “Modern” cinematic procedures: the collection of clips on static and dynamic cameras; and the editing of clips into a montage through techniques of abstraction common to the city symphony genre: superimposition, inversion, splicing, manipulations of speed and direction, et cetera. In addition to city symphonies of the 1920s and 1930s, experimental works that influence this experiment include: Outerborough (Bill Morrison, 2005), City Slivers (Gordon Matta-Clark, 1976), Carriage Trade (Warren Sonbert, 1971), and Side/Walk/Shuttle (Ernie Gehr, 1991). Post-War experimental filmmakers use the built environment as their medium in ways that hold great promise to inform and advance the architecture-cinema discourse, and a secondary objective of this experimental work is to correct the relative marginalization of artists using film within the mainstream of the architecture-cinema discourse. All footage is captured in New York City and its subway is an especially prominent subject. The author is currently researching the history of the subway and its potential future as a smart system. This project is parallel but independent to that one. The analysis balances verité and incongruity, seamlessness and discontinuity. No medium is capable of replicating, or even capturing, the reality of the city, but the medium of the motion picture, when handled in certain way, is capable of reorganizing urban phenomena on their own terms—space and time—so as to illuminate aesthetic qualities embodied in the city. In this motion picture, the objective is neither to document an existing city nor to design a future or fictional city—it is to explore, through techniques of photography and montage, the underlying logic of urban complexity. A primary objective that inspires the classical methodology of the video is to confront the tectonics of the city. Whereas production design, both material and computer-generated, transcends and reinvents the material reality of the city, raw footage captured in natural and normally-occurring artificial light imposes a creative limitation on this production. The city is mediated, but only to a certain extent. The limit is not understood as a proper or somehow ethical method, but rather simply as a constraint that steers the experiment in one of its many possible directions. Ultimately, in Off the Map, the indexicality of clips pushes against the imagination of montage. Architecture & Film Symposium
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Trax
Charlott Greub, Elliott Klinger, Camille Ide, and Kristin Clarksean North Dakota State University
How can film be used to frame theoretical making/teaching pedagogies in architecture and design? Two architecture courses at North Dakota State University addressed the potential of film and the moving image as tools for the analysis and representation of architecture and space. A film like Metropolis is a quintessential product of modernity. For this reason, the cinematic representation of modern architecture and urban space have been a key focus from its very origin. Film and architecture share similar practices of perception and representation of space: both need to be traversed in order to become readable. It was the modern metropolis of the late 19th century that brought into being a spatial dispositive, or device, of the transitory through characteristic typologies such as the arcades and railway stations described by Baudelaire. Within this urban setting new viewing machines evolved such as the panopticon, the panorama, and the diorama, all of which may be seen as architectural precursors of cinema. The film scholar Giuliana Bruno has stated in this regard: “By changing the relations between spatial perception and bodily motion, the architecture of transit prepared the ground for the invention of the moving image.� In this sense the film Trax: A transitional Space composed by the students Elliott Klinger, Camille Ide, and Kristin Clarksean refers to the beginning of film and cinema. The film was experimental and structured through geometrical principals such as layering, repetition, rotation, and mirroring to create a spatial representation of a transitional experience.
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Dancing in Hell
Yaoyi Fan and Zixy Zhan Cooper Union
The film is produced by 3D scanning choreography inspired by Dante inferno. Using the 3D scan, we can construct the form of movement in the faction of a second. By layering a series of digital point clouds, we can create an entire sequence of a particular act, such as descending a stair, walking in a passage, rotating between columns, and even dancing in a room. Because photogrammetry can construct a model through a relational position, the moving bodies have distorted the physical space to present eccentric forms. In a traditional standard of the architecture survey, the changes between each set of models would be considered “imprecise,” but movement documentation challenges the notion of precision in reproduction by presenting scans of perception. The representation of perception of space has existed in ancient time, particularly on the religious belief of unseemly spaces such as heaven or hell. In the Renaissance painting of Dante’s Inferno, Botticelli attempted to illustrate the architecture of hell. He painted a sectional painting call “The Chart of Hell,” in which he depicted the movement of Dante and Virgil to represent hell. Botticelli illustrated a series of rings attached to each other to form an inverted cone. The architecture of inferno is not static space. Rather, space is growing and extending as the characters move in the story. Each ring constructs the perception of moving and suffering figures in hell. The circle is not constructed through concrete masonry, but build upon the perception of a sinner’s constant movement: the inverted cone built from the experience of Dante and Virgil and the wayfarers of hell who witness the fall of sins. This section of Dante’s Inferno is an episode of perpetual, eternally moving sinners.
Architecture & Film Symposium
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Spatial Design and the iPhone Utilizing Students’ Cognizance of an Everyday Technology to Investigate Design Space Sheryl Kasak Pratt Institute
The smart phone - really the iPhone - has allowed for the constant presence of video in our daily lives. Capturing information as still or moving images; what format to shoot in; standard rectangular, time lapse, slow mo[tion], video, square, or pano[ramic] has become an innate activity, the device determines an objective image boundary. This familiarity with the smart phone as both a mediator and conveyor of experience combined with the predication of how we place ourselves within space allows us to utilize these devices as design tools. Entry-level design students lack the ability to recognize and define spatial conditions and/or translate and apply them to produce desired design outcomes. Often these students do not understand how to organize and implement geometric and material elements to create new environments. They may, however, be able to capture the properties of their real-time surroundings utilizing video, and then define and analyze which components are responsible for specific experiential events. Bernard Tschumi opened this door in 1976 with Screenplays Scenarios; individual frames of film sequences were spatially diagrammed and abstracted to produce a recognizable architecture based upon the action which had taken place. Over a five-year period, undergraduate interior and graduate architecture students were asked to create a one-minute video documenting their given project site from an experiential point of view. Students first analyzed films including Galveston and Blade Runner. In the latter, the character Deckard uses an “Esper� machine to effectively navigate a 2D image 3-dimensionally, enabling the viewer to inhabit the photographic space and understand the spatiality and connectivity of elements within the room through a perceived occupancy including light and reflection.
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Pulping in the City 2019 John Maruszczak
University of Texas at Arlington Pulping the City 2019 is a short film compiling three video cartographies in order to rescript the dynamics of the dispersed city. This is a city, mediated and unmediated, where ER meets Westworld, a reality hunger of extracts and trends, of incoherencies linked together by pre-texts. Strategies do not conform with, or are in opposition to, or even defined by, existing, freshly minted mediated discourse. Sick City seeks another currency. If Gaming is its obvious connection to Sim-City then we suggest this interpretation be cautioned as most of what we present has happened and will go on happening without us. Re-thinking the fluidity and contingency of these stretched entropic landscapes, the three films are urban navigations to activate and provoke cinematic counterproposals to the hyper suburbanization and post-liberal development. Using ideograms, scores, scripts, indexes, photo-cartographies, and clips/mini-films, a new architecture verité (direct cinema) is proposed. This is a Sick City (Big Town Mall, Mesquite,TX) AN ARCHITECTURAL CINÉ ROMAN By taking “revenge on the asphalt”, Interface, Animall and Brautigan is an architectural diagram-inprogress, an architectural ciné roman offering pinball strategies of resuscitation of the existing ‘deadmall’ in Mesquite, Texas. Operative strategies – from the reclamation of ‘deadspace’ to the revival of dying space – necessarily mean that the new development of Bigtown is always only a work in progress. This is crucial. This architecture combines with a mediated urbanism and is forever in flux, or incomplete, as in reality such malls are. The metaphors rebound. The Bystander (Duchamps to Ourselves) is based on the theme of citystates, where the bystander poses serious questions to an industry that collides with the thin world and a media that explodes city life into lost insights. A reverse architecture assembled to break out from the real into virtual scripts. The short is free-running version of the Bystander contesting the automatic writing, written across the body and the in-betweens of Calgary the few remaining parts of the city left to the apostrophe. The bystander is the only sane individual we can turn to; challenging any citation that attempts to bring them into a greater socio-cultural mix or sense of movement. The Bystander is always about to make that leap from the window joining other bystanders to become duchamps to themselves. Pulping Detroit begins on the road, 387 miles or as Kerouac writes: it’s anywhere road for anybody anyhow. A Detroit on-the-road video cartography is constructed as a transmedia script of urban questions and hanging non-sequiters.
Architecture & Film Symposium
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Involuntary Architecture John Maruszczak
University of Texas at Arlington An un-theorized architecture might have its widest appeal, its greatest future, the moment before being announced; the moment before it becomes part of the disenchantment of contemporary life. Involuntary Architecture is a film from the Pulp Architecture Studio entitled “I am Architecture” which challenged each student to re-occupy, privatise and commercialise their own learning using the ideas emerging around memes at the time. Does architecture operate as a meme machine, updating ideas, shifting through dominant trends, new discourses, and technology? How is architecture ‘memetically’ structured? Clues from bio-mimicry explored the way ideas are copied and adapted from natural systems into other fields to become those so called smart, lasting and clever designs, where memes act as operative procedures producing hybrids, appropriating other architecture(s), from semiotics to viral memetics. The urban cinematic cartography was structured around a series of filmic exercises 1animemes (video projection installation loops); 2 voyamemes (remote control video excursions); 3 24-7memes (CCTV time lapse videos); 4 Tsunamemes CF (cell phone video escape attempts). The final segment, Reality Architectures: Dallas the Memetown used 21 questions as a mockumentary with a cast including a taxi driver, police, priest, the homeless and a warden. A series of architectural animations /insinuations emerged as mini-memes on the run in Dallas.
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PECHA PECHA KUCHA KUCHA
Architecture in Cinema Hugo Christina Vaughn
Texas A&M University Film has the capacity to teach empathy become a tool for spatial voyage, architectural navigation, and discovery of the unknown. Its ability to transport viewers to unfamiliar spaces through the background of a built environment set to a particular time period in a particular place and inhabited by particular people promotes a feeling of place without traveling. The way we portray cities in movies is how we promote architecture, allowing people to feel spaces through the conversation between film and imagination. Hugo is a film based on the children’s novel ‘The Invention of Hugo Cabret’, written and illustrated by Brian Selznick. The novel playfully is filled with mostly illustrations providing a “movie” like feel to a book. Scorsese’s interpretation of the novel into a film is visually stimulating and emotionally capturing. Hugo takes the viewer through the story and history of film making, teaches about the importance of embracing life, creativity and adventure. Organized into five themes, this essay playfully analyzes the juncture between time, history, memory and architecture, the influence of metropolis and distraction, the perception of space, the art of discovery, and the power of architecture through the backdrop of the movie, Hugo.
Architecture & Film Symposium
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Cinema and the Built Environment BeetleJuice Katie Reyes
Texas A&M University The content of this proposal explores the relationship between film and architecture. Films play a significant role to how society views and forms ideas about design and architecture. This is very relevant today with the wide range of streaming services available. If designing for people is our intent, then we should inquire about the notions and ideas that lead people to think what architecture and design is in relation to film. The proposal discusses the relationship between cinema and the built environment. It compares the film Beetljuice to various other films.
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Dubai Reconsidered Rebal Knayzeh
Academy of Art University This essay examines the embedded potentialities in the re-articulation of the narratives of a recently completed public transportation project: the above ground portion of Metro Dubai’s Red Line and the implications of retelling “the story” in undermining the heteronomy of globalization. Beginning with Edward Said’s categorical definition of Orientalism as axiomatic in describing the current condition of Dubai’s socio-political state, and using Deleuze’s theory of repetition (and by extension Zizek) to be applied to the unique expression of the Red Line/ horizon, it explores how architects and urbanists in the Middle East have the potential of retroactively creating a new vernacular.
Architecture & Film Symposium
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Six Devices for Reflective Gaze Analysis Generating Spatial Narrations from a Given Architecture Roxane Enescu ULB
How can film stimulate design innovation? Sometimes architecture “pushes the limits of materiality, visibility, tectonics, thinness, and ultimately of architecture itself”, as the jury of the Venice Biennale characterized the Golden Lion prized architecture in 2010. The sign, on which is written “I’m sorry It’s broken“ and which refers to the winning project, puts the visitors of the Biennale in movement pushed by an emotional state in search of explanations. Trying to figure out why a broken project received a famous prize, they discover that the project is the air. While regretting that they were not there when the structure that outlined the limits of the project was presented, they discovered that the few people that had been in attendance were not even aware that the structure had broken. Is the presence in reality and the awareness of the users part of the territory on which the architecture could increase its performances through a synergy with film creation? Other areas of questioning and experimentation will be discussed, such as kinesthesia or imaginary dimensions of architecture seen from the users’ points of view. This presentation puts architecture and cinema face-to-face in a dual approach. Firstly, it deals with a rather holistic phenomenological approach that focuses on the theoretical and philosophical definitions of several concepts and transitional notions between cinema and architecture. Secondly, it is about a rather experimental approach, which first opens up to the segmentation of observed experiences to finally build an integrative installation associating film and architecture. The installation is an architectural production situated in its own limits. It does not build anything material, but it interconnects and stimulates the imagination, presence, and awareness of users; it molds different views and mental constructions of the given architecture. As a new design, it does not alter the built environment, but it provides narrative structures and building elements of dynamic views. The installation transforms the user from a passive observer to an actor with an active and creative role.
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Blurred Limits Hitchcock’s Rear Window and the Shadows of Projections Alejandro Borges
Texas A&M University This paper investigates the disappearance of the traditional limits between the notion of public and private in contemporary culture. First, Rear Window as the development of the notion of Shadow and Projection from an Architectural/Psychological point of view, and second, Social Media as its contemporary connexion and as a reflection of culture. What implications does the disappearance of the traditional limits generate on the contemporary transformation of architectural re-programming? Is this cultural transformation beginning to mediate a different kind of approach to the notion of architectural space? What direct consequences do the blurred images and traditional limits of public/private dichotomy have on contemporary architectural discourse? Contemporary cultural congestion defines the individual experience, at the beginning of the 21st century, as a result of coexisting with a series of dichotomies such as: global/individuality; subjectivity/inter-subjectivity; rationality/ irrationality; and end of history/genealogy of history. Making architecture means, among other things, to articulate the different dimensions of society at a particular time. Architecture operates in different strata, it is a discipline that combines experience, image, concept and use, and by definition merges the outside projection of image with interior, psychological space and the notion of collective.
Architecture & Film Symposium
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Unfolded Architecture as Choreography Ashlie Latiolais
University of Louisiana, Lafayette The realm of architecture is on a trajectory of extension beyond the boundaries of traditional buildings, and more commonly, architectural inspiration is coupled with research that connects to alternative, and typically disjointed, disciplines. A “both/and” inclusive approach and definition of architecture, as depicted here, expands the margins that contain the profession. Figuratively, architecture is a series of edges, events, and occurrences that establishes a choreography or stage by which humanity exists. The way in which architecture controls and suggests the movement through these spaces, being within a landscape, city, or building can be viewed as a datum by which the dance of everyday life occurs. This submission views the realm of architecture through the lens of movement and dance as a cross-fertilizer of collaboration, tectonic, and spatial geometry investigations. “Designing on digital programs puts architects at a distance from the spaces they imagine. While this has obvious advantages, it also means that they lose the lived, embodied experience of feeling what is needed in a space— meaning that some design ideas that work in theory ultimately fail in practice.” By studying the body in motion through real-time performance, a more holistic understanding of architectural space surfaces, and new prospects for theoretical teaching pedagogies emerge. The atypical intersection rethinks how architecture is considered, created, and tested similar to how “dance artists often do this by thinking through the body, opening pathways and possibilities that might not otherwise be accessible” – this is the essence of this poster submission as explained through unFOLDED, a creative performance work.
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Architecture and Nostalgia in Hidden Man Portrayal of Life and Environment of the 1930s in Beijing Mingqian Liu
Texas A&M University Director-actor Jiang Wen’s 2018 blockbuster Hidden Man (“Evil Never Defeats the Just”) made Gala Presentation at the Toronto International Film Festival shortly after releasing in China. The film, which script is based on an action/ martial arts novel set in the 1930s Beijing, is seen by reviewers as a Chinese version of Quentin Tarantino’s Inglorious Bustards, and described by the director himself as: “a Hamlet in Beijing, and Bruce Lee navigating Casablanca”. The film tells the story of a San Francisco-raised young man going back to his birthplace, Beijing (then Beiping during the Republic of China era), to seek revenge against the Japanese, only to find out he is trapped in a dangerous situation involving intrigue, scheming, love, and patriotism. A few years before the Sino-Japanese War broke out as part of the Pacific Theater, the political arena of 1930s China involved the Republican government, the Americans, and the Japanese forces, leading to a wide spread uncertainty about the nation’s future. While portraying the interconnected tensions and blood conflicts among major players, as reflected in characters and plots, this film also sends a beautiful love letter to the city of Beijing. While actual 1930s settings are hard to find, the director utilizes preserved historic neighborhoods in suburban Beijing near the Great Wall to recreate the built environment timely appropriate for the storyline. Some of the scenes are even reconstructed based on historic maps that outlines the city’s urban fabric during the Republican era. The courtyard houses’ rooftop environment shown in the film is of particular importance, as such semi-public urban space is often ignored by urban studies scholars and in other artistic works. Because of the nostalgic and feeling-triggering effects of such lost cityscapes, the background of the scenes in the film is widely praised as being accurate and true to the heart for the local audience. This Pecha Kucha presentation will demonstrate some representative scenes the director uses to recreate the 1930s Beijing, and discuss the importance of using such imageries to communicate the living and social environment of the city during that turbulence time. Furthermore, the presentation will also analyze what is being portrayed, according to the character and story’s settings, and what is left out comparing to the social contexts of the Chinese capital city of the Republican era. The goal is to discuss how period films reconstruct the historical environment and contribute to a public sense of nostalgia, or even an awareness of historic preservation. Architecture & Film Symposium
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FLOOR FLOOR PLAN PLAN
ARCC 204 AB
ARCC 204 BB
ARCC 204 CB
ARCC 204 AA
ARCC 204 BA
ARCC 204 CA
ARCB
Gerne Auditorium Bridge (2FL)
ARCC 206 AA
ARCC 206 AB
Langford Bldg C 2FL
Wright Gallery/Adams Presentation Room
Lobby (2FL)
Langford Bldg A 2FL Architecture & Film Symposium
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2079 ARCHITECTURE & FILM SYMPOSIUM
TEXAS A&M UNIVERSITY COLLEGE OF ARCHITECTURE