Page 1


â&#x20AC;&#x153;Pathâ&#x20AC;? is the imaginary path followed by the eye and the varying perceptions of an object that depends on how it appears to the eye. Now a days it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept. -Sergei Eisenstein In the deconstruction of montage there is the search for a conceptual platform for the development of a technique to assemble an architectural space or series of spaces along a path that are engaged in a dialectic relationship with places and histories at multiple points in time and geography that are beyond its own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

=1+! "%0&%221),$! %-! D-<! ?+-+#*! L%-1+&#%0:! -1+!B2#$/$0)*! $4!B-1+,*:! %,&! ?)07#)5%7+! #$6-+*! %#$6,&! -1+! '$#0&:! $/+#%-+! ')-1! ),! -1+! conceptual framework of Eisensteinâ&#x20AC;&#x2122;s montage theory. 9=1+!"%0&%221),$!$/+#%-+*!%-!-1+!*2%0+!$4!-1+!%**+580+&!2$5/$,+,-!&+-%)0*:!'1)21!),!-1+)#!-#%,*4$#5%-)$,!%,&!H63-%/$*)-)$,!2#+%-+*! an allegory that references a series of events that took place before the construction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the end is recalled and transformed. A)-1!),!+%21!$4!-1+*+!-1#++!+3%5/0+*!$4!5$,-%7+!-1+$#(!),!%#21)-+2-6#+!-1+#+!)*!%!5+-1$&!-$!8+!+3-#%2-+&!%,&!)5/0+5+,-+&!+0*+'1+#+<!! =1+!)5/0+5+,-%-)$,!$4!%!*+-!$4!&)%0+2-)2!#+0%-)$,*1)/*!7#$'),7!$6-!$4!%!-+21,)N6+!+3-#%2-+&!4#$5!-1+!-1+$#(!$4!5$,-%7+!-1%-!5$;+*! 4#++0(!8+-'++,!-1+!*2%0+!$4!-1+!&+-%)0:!-1+!*)-+:!%,&!-1+!/%-1!-1%-!'$60&!2#+%-+!%!>-$-%0!*/%2+@!+,7%7),7!-1+!*)-+:!-1+!2)-(!%,&!-1+! -#%;+0+#<!!B-!+%21!*2%0+!-1+!*+0+2-+&!2$,&)-)$,*!%2-!),!-'$!'%(*<! OneO!-1+(!%#+!46,2-)$,%0<!!=1+(!'$#M!%*!%!#$%&:!%!*/%2+:!%!&+-%)0<!! TwoO!-1+(!%&&#+**!/0%2+*:!+;+,-*!%,&!*+,*%-)$,*!-1%-!%#+!$6-*)&+!$4!-1+!/1(*)2%0!*/%2+!%,&!-)5+!-1%-!+%21!2$,&)-)$,!),1%8)-*<


The Eye In the Camera and the Baldacchino : The Detail P)71-!*1$-*:!+)71-!5$,-%7+!*+N6+,2+*!$4!%!'1$0+!5$,-%7+!*2+,%#)$<!!D%5+!7+,+#%0!&+*)7,!86-!-1+(!&)44+#!),!-1+)#!2$5/$,+,-!&+-%)0*< >D%-)#%!5%#5$#+%0!=#+5+,&%@!9!>B!-#+5+,&$6*!*%-)#+!),!5%#80+@ L),+5%-)2!#+/#+*+,-%-)$,!$8*+#;+&!8(!-1+!,%M+&!+(+:!5$,-%7+:!4#%5+*:!H63-%/$*)-)$,:!)5/0)+&!5$;+5+,-!),!2$00)*)$,!$4!*-)00!)5%7+*:! 5$,-%7+<!!B!,%##%-);+!),!*/%2+:!-1+!"%0&%221),$!2$,-%),*!-1+!+58$&)+&!;$)2+!$4!Q)%,!R$#+,K$!"+#,),)< The Theater In the Mind and the Acropolis : The Site =1+!*/+2-%-$#!5$;+*!8+-'++,!%!*+#)+*!$4!2%#+4600(!&)*/+#*+&!/1+,$5+,%!-1%-!%#+!%8*$#8+&!*+N6+,-)%00(<!!D1$-!&+*)7,:!/+#2+/-)$,<!! The theater in the eye is the drama of the mind through the sense of sight and the path of the eye and the mind through space. The B2#$/$0)*!2$,-%),*!-1+!+58$&)+&!;$)2+!$4!B-1+,)%,!2$00+2-);+!'$#0&9;)+'<!! The Slice In the Eye and Broadway : The Path Bunuelâ&#x20AC;&#x2122;s cutting of the eye is the destruction of the belief in sight. The slice in the eye reveals the sight of the subconscious. Broadway cuts through the grid; it is an inhabitable section through the $#&+#!$4!-1+!2)-(<!!S,!"#$%&'%(!-1+#+!)*!-1+!+58+&&+&!;$)2+!$4!-1+!),1%8)-%,-*!$4:!%,&!-#%;+0+#*!-1#$671:!-1+!2)-(<

Organization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

!

The Plan: The form of the city =1+!?0%2+O!!D/%2+<!!B!/0%2+!-$!7%-1+# The Occurrence: People gather. People participate. =1+!D-$#(-+00+#O!!=1+!*-$#(-+00+#!)*!-1+!+58$&)+&!;$)2+!$4!-1+!2)-(<!!=1+*+!21%#%2-+#*!%#+!-(/+*!$4!),1%8)-%,-*!$4!-1+!F+-#$/$0)*! ')-1$6-!*/+2).2!/0%2+!$#!-)5+<!!P%21!1%*!%!;$)2+:!-1%-!-+00*!%!*-$#(!$4!%!&)44+#+,-!2)-(<!!=1+(!/#$;)&+!4$#!6*!%,!+(+!-$!8+!+58$&)+&<!!

L1#$,$0$7)2%0O!D(,21#$,$6*<!!F$;),7!0),+%#0(!),!-)5+<!!?#+*+,-!-$!/%*-<!?%*-!-$!/#+*+,-<!! L$,-+,-O!!$#7%,)K%-)$,!$4!-1+!+0+5+,-*!$4!-1+!8$$M!8%*+&!$,!-1+!/$-+,-)%0!!!!!!#+%&),7*!+5+#7),7!4#$5!-1+!2$,V)2-!$4!$,+*!H63-%/$*)-)$,! with another. B!W$-+0<!B!/0%2+!-$!-+00!*-$#)+*<!!


The Eye In the Camera and the Baldacchino : The Detail P)71-!*1$-*:!+)71-!5$,-%7+!*+N6+,2+*!$4!%!'1$0+!5$,-%7+!*2+,%#)$<!!D%5+!7+,+#%0!&+*)7,!86-!-1+(!&)44+#!),!-1+)#!2$5/$,+,-!&+-%)0*< >D%-)#%!5%#5$#+%0!=#+5+,&%@!9!>B!-#+5+,&$6*!*%-)#+!),!5%#80+@ L),+5%-)2!#+/#+*+,-%-)$,!$8*+#;+&!8(!-1+!,%M+&!+(+:!5$,-%7+:!4#%5+*:!H63-%/$*)-)$,:!)5/0)+&!5$;+5+,-!),!2$00)*)$,!$4!*-)00!)5%7+*:! 5$,-%7+<!!B!,%##%-);+!),!*/%2+:!-1+!"%0&%221),$!2$,-%),*!-1+!+58$&)+&!;$)2+!$4!Q)%,!R$#+,K$!"+#,),)<


The Theater In the Mind and the Acropolis : The Site =1+!*/+2-%-$#!5$;+*!8+-'++,!%!*+#)+*!$4!2%#+4600(!&)*/+#*+&!/1+,$5+,%!-1%-!%#+!%8*$#8+&!*+N6+,-)%00(<!!D1$-!&+*)7,:!/+#2+/-)$,<!! The theater in the eye is the drama of the mind through the sense of sight and the path of the eye and the mind through space. The B2#$/$0)*!2$,-%),*!-1+!+58$&)+&!;$)2+!$4!B-1+,)%,!2$00+2-);+!'$#0&9;)+'<!!


The Slice In the Eye and Broadway : The Path Bunuelâ&#x20AC;&#x2122;s cutting of the eye is the destruction of the belief in sight. The slice in the eye reveals the sight of the subconscious. Broadway cuts through the grid; it is an inhabitable section through the $#&+#!$4!-1+!2)-(<!!S,!"#$%&'%(!-1+#+!)*!-1+!+58+&&+&!;$)2+!$4!-1+!),1%8)-%,-*!$4:!%,&!-#%;+0+#*!-1#$671:!-1+!2)-(<


The Eye In The City  

Architecture Undergraduate thesis book

Read more
Read more
Similar to
Popular now
Just for you