CINEMATIC ARCHITECTURE

CINEMATIC ARCHITECTURE FOR THE DEAF/DEAFBLIND: A FILM MUSEUM AT FILM CITY, MUMBAI A Design Thesis Submitted to the GUJARAT UNIVERSITY By ROMILA DAISY LUCAS In Partial Fulfillment of the Requirements For the Award of Degree of Bachelor of Architecture (B.Arch) DECEMBER 2018

SCHOOL OF ARCHITECTURE VADODARA DESIGN ACADEMY Bil,Vadodara, Gujarat , India - 391410

CERTIFICATE

This is to certify that the Design Thesis Entitled CINEMATIC ARCHITECTURE FOR THE DEAF/DEAFBLIND: A FILM MUSEUM, is a record of the bonafide work done by Romila Daisy Lucas AR 5813 under our supervision/guidance during the year 2018-2019. This thesis is submitted in partial fulfilment of the requirement for the Design of Bachelor of Architecture and satisfies the requirements laid down by Gujarat University, Ahmedabad.

It is to be understood that by this approval the undersigned does not necessarily endorse or approve any statement made, opinion expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted.

Thesis commitee: Ar. Khevna Mistry Ar. Bela Hirpara

Chairman Prof. Nirav Hirpara Director School of Architecture Vadodara Design Academy SCHOOL OF ARCHITECTURE VADODARA DESIGN ACADEMY Bil, Vadodara, Gujarat, India-391410

ACKNOWLEDGMENT This journey would not be possible without the help, guidance and support of the following people.

I would firstly want to thank my thesis coordinator Ar. Khevna Mistry who helped us in keeping the entire process in place and also guided me throughout the research process. My sincere gratitude towards my school director Prof. Nirav Hirpara whose crits and validation kept me go forward in every stage. I acknowledge and appreciate the silent but strong support of Prof. Bela Hirpara throughout the thesis without which nothing of this would be possible.

I won’t miss the opportunity to thank all my teachers who guided me from the day I joined Architecture and helped me achieve my own perspective towards Architecture and come up with this project as my final thesis.

The help and support from NMIC Mr. Anil Kumar, Professors from Hellen Keller Institute for deaf/ deafblind was immeasurable during my process of research on the two different areas i.e. Cinema & Museum and Deaf/Deafblind respectively.

I want to express my unconditional love and gratitude for the help from my friends/ classmates Deep Barot for being the constant help, Maninder Kaur Sekhon, Toral Patel, Siddhi Mistry, Drashti Parikh and Tanvi Chapaneri for making my final presentation possible the way I visualized. Thank you to all my friends who are not listed here who stood by me behind the scenes so that I don’t fall.

Most of all my deepest love and gratitude to my mother Mary Lucas and father T.C Lucas without whom I was not possible. Also my brother and sister for being the hidden supports.

This project is a resultant of thorough research, analysis and manifestation in design with the important guidance of the above mentioned individuals. A holistic approach was hence taken and manifested to create a design with architectural and human values.

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ABSTRACT A public space invites every individual to come together and experience the architecture enveloping a content according to their own perception towards the subject.

The primary users of this project are the Deaf/Deafblind who act as an instrument to achieve the most appropriate architectural solutions that make the space not only accessible but give them the best experience of the space and its content.

Cinematic architecture, an approach which is a combination of MOVEMENT OF USERS and STORYTELLING THROUGH ARCHITECTURE is the concept undertaken to achieve the spaces of a film museum that caters all kind users to evoke all their senses.

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CONTENTS CERTIFICATE 2

5. PROGRAM

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5.1 Programmatic components and their relationship

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ACKNOWLEDGMENT 3

5.2 User flow and their spatial relationships

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5.3 Area table

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6. DESIGN

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6.1 Concept

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6.2 Design Development

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6.3 Final design

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7. REFERENCES

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ABSTRACT 4 1. INTRODUCTION

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1.1 Perception of Space

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1.2 Deaf Blind

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1.3 Cinematic Architecture

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1.4 Evolution of Indian cinema

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2. PROJECT PROPOSAL

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2.1 aim

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2.2 objectives:

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2.3 Probable components

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3. CASE STUDIES

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3.1 Hazelwood school for sensory impaired, Glasgow, Scotland

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3.2 Centre for blind and visually impaired, Mexico

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3.3 Deyang school for deaf and intellectually disabled children, China 25 3.4 Eye museum, Amsterdam

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3.5 Bollywood museum, Film City, Mumbai (unbuilt project)

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3.6 Fictional constructs kraftswerk, Berlin

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3.6 Fictional constructs kraftswerk, Berlin

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3.7 Cinematic Promenade, Parc de villette, Paris

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3.7 Cinematic Promenade, Parc de villette, Paris

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4. SITE

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4.1 Site selection criteria

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4.2 Site and connectivity

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4.3 Site Analysis

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LIST OF FIGURES

fig.1: Perception of a Human being

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fig.37: Site and connectivity

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fig.2: Merleau Ponty

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fig.38: Site analysis

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fig.3: Sensorial envolope

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fig.39: Relationship diagram

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fig.4: Senses of the deafblind

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fig.40: User flow diagram

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fig.5: Senses

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fig.41: Area table

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fig.6: Hearing

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fig.42: Concept of space for the users

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fig.7: Perception for a Deafblind

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fig.43: Conceptual thoughts for the application of cinematic architecture in the project 44

fig.8: Chronological advancements for the deafblind 13

fig.44: Conceptual sketches

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fig.9: Gyorgy Kepes

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fig.45: Conceptual models

fig.10: Early cinema

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fig.11: First screening

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fig.46: Conceptual thoughts for spatial arrangements 45

fig.12: Pascal Schoning

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fig.13: Sergei Einsenstien

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fig.14: Principles of montage

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fig.15: Bernard Tcshumi

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fig.16: Principles of montage

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fig.17: Principles of montage

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fig.18: The netherlands pavillion

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fig.19: Film + architecture

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fig.20: SENSORIAL ENVELOPE

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fig.21: Chronological growth of Indian Cinema

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fig.22: Adaptation of technology

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fig.23: Adaptations of methods and activities that enhance their perception of space and information.

23 fig.24: Analysis

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fig.25: Analysis

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fig.26: Inferences

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fig.27: Analysis

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fig.28: Analysis

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fig.29: Analysis

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fig.30: Analysis

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fig.31: Generated by the author

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fig.32: Analysis

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fig.33: Analysis

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fig.34: Analysis

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fig.35: Map of mumbai

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fig.36: Site and context

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1. INTRODUCTION 1.1 Perception of Space

Architects believes that a good designs are settings for human activities that help interactions among users, increase productivity, and raise their satisfaction, unlike weak design which obstruct users’ performance, reduce satisfaction, and even undermine people’s safety. That’s what make the design is a challenge towards designers estimating whether a design will be good or poor before its realization.

“There is no doubt whatever about the influence of architecture and structure upon human character and action. We make our buildings and afterwards they make us. They regulate the course of our lives.”

Winston Churchill, addressing the English Architectural Association, 1924 Human behavior can be influenced by architecture in different forms like a comfortable space satisfied to one’s physical needs, well presence sunshine.

It could be applied strategically by firstly identifying lines desired and user’s particular paths and secondly formalizing this, so as to make it easier or more salient or in some way obviously normative, encourage other users to follow system.

Architectural spaces shapes and qualities inspired human experience and behavior, as we can control the spaces of our built environment and not the solid walls, roofs, and columns that shape it.

People preferred positive spaces because of its high social interaction level. Unlike negative spaces that encourage movement rather than dwelling in place.

fig.1: Perception of a Human being source: Generated by the author

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MY CONCLUSION

Merleau-Ponty affirmed that perception is not an intellectual act. Rather, it is an immediate relationship with the world, into which the human being is always already thrown.

An architectural space though is more function driven; I intend to derive a space where there is a number of user flow who experience the space and the information in it through the nature of the space.

For Merleau-Ponty as well as for other phenomenologists, perception is an intentional process in which consciousness is always a consciousness of something.

fig.2: Merleau Ponty source: spatial experience narrative and architecture by era hadley report amanda clarke

Henceforth my focus in the project remains the spatial nature which aims at the best experience of perception of the spaces through all the senses evoked.

fig.3: Sensorial envolope source: spatial experience narrative and architecture by era hadley report amanda clarke

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1.2 Deaf Blind •

1.2a Introduction to deaf blind

Oliver Sacks in Pallasmaa’s The Embodied Image states, “The world of the blind, of the blinded, it seems, can be especially rich in…in-between states – the inter-sensory, the meta-modal – states for which we have no common language. And all of these blend into a single fundamental sense, a deep attentiveness, a slow, almost prehensible attention, a sensuous, intimate being at one with the world which sight, with its quick, flickering, facile quality, continually distracts us from”

fig.5: Senses source: Generated by the author

If deaf blindness is present and the partner is very close you can observe the following: fig.4: Senses of the deafblind  The deaf-blind person will actively use touch for all functions in communication or maybe just for some of them,  If the partner uses touch and movement as one way of interacting, communication will be sustained and more advanced.

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source: Generated by the author

fig.6: Hearing source: Google image

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1.2b Them and their evolution

fig.7: Perception for a Deafblind

source: Generated by the author

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fig.8: Chronological advancements for the deafblind

source: Generated by the author

1.3 Architecture and Cinema “Visual language can convey facts and ideas in a wider and deeper range than almost any other means of communication. It can reinforce the static verbal concept with the sensory vitality of dynamic imagery. It can interpret the new understanding of the physical world and social events because dynamic interrelationships and interpenetration, which are significant of every advanced scientific understanding of today, are intrinsic idioms of the contemporary vehicles of visual communication: photography, motion pictures, and television.”

-Gyorgy Kepes in Language of Vision Early Cinema The source and inspiration of film can be traced prior to the development of film projection technology and film creation.

The fascination with capturing motion began with the advent of the ‘glass negative’ in the 1840’s.

Photographers could now capture instances of movement and emotion, compared to previous methods that required several minutes of image exposure onto a copper plate. A new interest in capturing movement resulted from this new ‘instant’ photography.

In particular the work of Marey and Muybridge focused on capturing the previously unknown details of animal motion.

fig.9: Gyorgy Kepes source: Google image

During the first years of the medium begining in 1890, lumier brothers had a broad catalogue of documentry films. The documentary was the primary genre of film prior to 1906 Avant-Garde movements the futurists glorified all things having to do with the speed, machinery, war and all things that bring about rapid change in the world. cinema was the medium that could capture the essence of this new cultural philosophy

fig.10: Early cinema source: Language of vision

The DADA movement in 1915 focused on the accidental and chance as a way of disrupting logic and order used film as a means to explore the concept. These films consisted of three essential components insisted by the surrealists: narratives, potrays characters in a realistic order, and it is disrupted by sudden terrifying images from the subconcious.

fig.11: First screening source: Google image

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1.4 Cinematic Architecture My conclusion

1.4a What is cinematic architecture?

Cinematic architecture would play the role of a tool of design. The principles and theologies of cinematic architecture help in creating a built environment that helps in the experience of a space in its best.

Manifesto For A Cinematic Architecture presents theorist Pascal Schoning’s dream of an architecture that transforms solid material into the appearance of energy and spatiality.

Using light as its main building material, it aims to reach an ethereal state which will become real when energized by the people inside it.

fig.12: Pascal Schoning source: Google image

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1.4b Theories

montage and architecture

fig.13: Sergei Einsenstien source: Google image

The theory of montage as developed by Russian filmmaker Sergei Eisenstein (1898 - 1948) can be used to develop architectural concepts.

These montage principles shall be elaborated via their Principles of montage theory relationship to the architectural theories of Bernard Tschumi to produce specific architectural concepts Having examined the five levels of montage developed

by Eisenstein and their use in the film Battleship Potemkin, it is necessary to apply these filmatic principles in the determination of specific architectural concepts. To accomplish this task, the theoretical work of architect Bernard Tschumi shall serve as the antithesis to film theory and dialectically establish specific architectural concepts as the synthesis .

Eisenstein sets out this position, contrasting two “paths” of the spatial eye: the cinematic, where a spectator follows an imaginary Line among a series of objects, through the sight as well as in the mind - “diverse impressions passing in front of an immobile spectator”- and the architectural, here “the spectator moved through a series of carefully disposed phenomena which he absorbed in order with his visual sense.” fig.14: Principles of montage

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source: Google image

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Screen plays and manhattan transcripts

fig.15: Bernard Tcshumi source: Google image

Tschumi’s first experimental projects, such as The Manhattan Transcrips, focus on finding an abstract repertoire and taking inspiration from the metropolitan universe. Cinema, dance and photography serve as reference to try to capture with architectural forms the very essence of movement.

The Transcripts maintain that only the Relationship between the three levels of event, space and movement, have an interest for the architectural experience, however these levels will never try to transcend the contradictions between object, person and event, but they will maintain them through relationships of indifference , reciprocity or conflict.

CONCLUSION Despite being a deeply abstract text, Tschumi adopts the position of comparing it with the cinema or the narrative, the director who starts creating a scene of a crime, Bernard Tschumi assigns to the first part of our theoretical approach an EVENT an incident, a event; the second point, the SPACE and its own logic capable of being compressed or deformed, as is that crime scene (on a rainy night, in a solitary place, a mansion, etc.); at the end the MOVEMENT, that action or process of moving; that interaction between the event, the space and the movement can be seen as the protagonist of the scene, or the user in the architecture.

fig.16: Principles of montage source: Google image

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1.3c Manifestaions

“Cloudscapes” Arsenale Artiglierie A significant installation by German engineering firm Transolar and Tetsuo Kondo Architects.

They collaborated to create a real cloud, with clear extents, in the Arsenale Corderie, the effect being an ethereal layering of the Arsenale space.

The cloud greatly affected the natural light qualities in the space, imbuing the space with a theatrical atmosphere.

The temporary insertion of ramps into the space allowed the participant to gain access to new vantage points of the original building, previously inaccessible.

This installation housed a series of ramps that invited visitors to experience an ephemeral atmosphere from below, within and above using a ramp that winds through the space, with varying levels of visibility and humidity.

Mise-en-scène is an expression used to describe the design aspects of a theatre or film production, which essentially means “visual theme” or “telling a story”- both in visually artful ways through storyboarding, cinematography and stage design, and in poetically artful ways through direction.

When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangementcomposition, sets, props, actors, costumes, and lighting.

Transolar and Tetsuo Kondo Architects adopted a very filmic approach to architectural space in this work, which had to do with people in space, and experiencing that space. They were interested in how “you will change the space and how it will change you.”

fig.17: Principles of montage source: Google image

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The Netherlands Pavilion, ‘Vacant NL

Vacant NL aimed to show how this enormous quantity and diversity of temporarily available property offers a range of possibilities, and that temporary use can give positive impulse for innovation within the creative knowledge economy.

From below, one could make out a suspended ceiling of blue foam. From the first level of the pavilion, the suspended field revealed itself to be a collection of model churches, schools, water towers, factories, hangars, light houses and offices. A diagram on the wall showed the connections that could be made between vacant buildings and creative professionals.

Rietveld Landscape (the exhibition curators) emphasized the theme by leaving the ground level of the pavilion empty.

The curators explored an existing scenario within their urban environment to strategically re-imagine new spatial possibilities at an urban scale.

fig.18: The netherlands pavillion

Film + Architecture

source: Google image

Film + Architecture is an emerging discipline.

Commissioners in each discipline are naturally nervous at the idea of someone working in between two disciplines.

Christophe Gérard expressed, that as a practitioner “one moves between these disciplines with difficulties. So my work tends to be, at times, purely architectural, at others, purely filmic. Having said that, I have a filmic approach to architecture and an architectural approach to film - my knowledge in one domain enriches the other.”

fig.19: Film + architecture

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source: Google image

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Film + Architecture

‘Film + Architecture’ It deals with the pollution, the contamination of each discipline, film and architecture, by the other. It looks at the way architectural-space and filmspace collide, inform and reconfigure one another.”

Gerard stated in the interview, that “film as a medium develops the conception (both the mental picture and the act of conceiving) of architecture.”

fig.20: SENSORIAL ENVELOPE source: Google image

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1.4 Evolution of indian cinema

fig.21: Chronological growth of Indian Cinema

source: Generated by the author

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2. PROJECT PROPOSAL 2.1 aim

To provide an architecture for the deaf/ deafblind as an attempt to take their development process a step ahead by creating a public space like FILM MUSEUM through CINEMATIC ARCHITETURE. fig.22: Adaptation of technology

source: Generated by the author

2.2 objectives: 1. Creating architectural installations that present the history and evolution of cinema 2. Provide platform for the blind and deaf to perform and create cinema.

3. Create narrative architecture for the the blind and the deaf to interact with the story

Probable components

1. History and evolution of cinema 2. Interactive architectural spaces (Story telling) 3. Film making space 4. Performing space fig.23: Adaptations of methods and activities that enhance their perception of space and information.

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2.4 Scope The project derives a close enough solution to sensory architecture for the challenged users not confined to the elements like ramps and floor textures; but through all the elements of architecture spatially as well as structurally.

My conclusion This project is intended to give a total dedication to the users i.e. Deafblind, as they have been already been neglected to these areas of comfort, let alone the basic necessesities.

Hence the intention is to bring the project beyond the thoughts of creating a universal architecture; rather work on the architectural enhancement in terms of its form, structure and elements.

2.5 Limitations The users may be an all time focus in all the process of designing and may be considered as a core challenge. Yet the introduction of the concept of cinematic architecture as the design guideline is a limitation to be challenged.

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3. CASE STUDIES 3.1 Hazelwood school for sensory impaired, glasglow, Scotland

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3.3 Deyang school for deaf and intelectually disabled children, China

fig.24: Analysis source: Generated by the author

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3.2 Centre for blind and visually impaired, Mexico

fig.25: Analysis source: Generated by the author

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3.3a inferences from the user focussing case studies My conclusion The case studies of school were taken aiming at the understanding of human behaviour specially of the deafblind so that i could understand the beahvioural pattern of the users.

Also in the end of the study it can be concluded that the theories of cinematic architecture could give the most appropriate parameters which would lead to a better designed built environment as an architectural response.

fig.26: Inferences source: Generated by the author

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3.4 Eye museum, Amsterdam

fig.27: Analysis source: Generated by the author

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3.5 Bollywood museum, Film City, Mumbai (unbuilt project)

fig.28: Analysis source: Generated by the author

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3.6 Fictional constructs kraftswerk, Berlin

fig.29: Analysis

source: Generated by the author

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3.6 Fictional constructs kraftswerk, Berlin My conclusion The case studies related to cinematic architecture are sensitively selected and studied with its minutest detail.

The intention was to understand the basics of the theory and so the two cases studied considers the tangibles and intangibles of the cinematic architecture.

A few projects of film museum were also studied for the understanding of its programmatic components.

fig.30: Analysis fig.31: Generated by the author

fig.32: Analysis source: Generated by the author

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3.7 Cinematic Promenade, Parc de villette, Paris

fig.33: Analysis

source: Generated by the author

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3.7 Cinematic Promenade, Parc de villette, Paris

fig.34: Analysis

source: Generated by the author

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4. SITE 4.1 Site selection criteria

4.2 Site and connectivity

The site has an existing 12m wide access road that runs from West to East, through the center of the site. The site has many hills, natural water bodies and natural diverse vegetation.

Justifications: The site is located at the proximity of film city Goregaon wihich attract 89% of cinema lovers and cinema makers.

fig.35: Map of mumbai

The institutions like HELLEN KELLER INSTITUTE of Deaf and source: Google image Deafblind are located in the proximity of the site.

The average footfall of the tourists in Mumbai is 4.6 million per year according to 2014 survey OBJECTIVE ENVISIONED TO SUPPORT •FILM PRODUCTION •FILM TOURISM VISION • OPPORTUNITIES FOR ENJOYMENT & LEARNING • HEALTHY & SAFE OCCUPANCY

fig.36: Site and context

• GOOD ON-SITE CONNECTIVITY

source: Google image

• ENVIRONMENTALLY SENSITIVE DEVELOPMENT

fig.37: Site and connectivity source: Google image

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4.3 Site Analysis

fig.38: Site analysis

source: Generated by the author

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5. PROGRAM 5.1 Programatic components and their relationship

fig.39: Relationship diagram

source: Generated by the author

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5.2 User flow and their spatial relationships

fig.40: User flow diagram

source: Generated by the author

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5.3 Area table

fig.41: Area table

source: Generated by the author

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6. DESIGN 6.1 Concept

fig.42: Concept of space for the users source: Created by the author

CINEMATIC ARCHITECTURE FOR THE DEAF/ DEAFBLIND: A FILM MUSEUM

fig.43: Conceptual thoughts for the application of cinematic architecture in the project source: Created by the author

fig.45: Conceptual models fig.44: Conceptual sketches

source: Created by the author

source: Created by the author

fig.46: Conceptual thoughts for spatial arrangements source: Created by the author

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6.2 Design Development

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CINEMATIC ARCHITECTURE FOR THE DEAF/ DEAFBLIND: A FILM MUSEUM

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CINEMATIC ARCHITECTURE FOR THE DEAF/ DEAFBLIND: A FILM MUSEUM

CINEMATIC ARCHITECTURE FOR THE DEAF/ DEAFBLIND: A FILM MUSEUM

CINEMATIC ARCHITECTURE FOR THE DEAF/ DEAFBLIND: A FILM MUSEUM

CINEMATIC ARCHITECTURE FOR THE DEAF/ DEAFBLIND: A FILM MUSEUM

CINEMATIC ARCHITECTURE FOR THE DEAF/ DEAFBLIND: A FILM MUSEUM

EXHIBIT 3: FILM MAKING PROCESS

EXHIBIT 1: HISTORY AND EVOLUTION OF INDIAN CINEMA

EXHIBIT 2: ARTIFACTS OF CINEMA PERFORMIMG ARENA AND THEATRE

EXHIBIT 4: THEORITICAL INFORMATION OF FILM MAKING AND CINEMA GALLERY OF DARK

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My conclusion The design enables my target users to experience the museum at its best, as it incorporates in itself the flow and movement of users in a specific rhythm providing them information in accordane to their understanding and language.

The use of technological advancements in terms of instrument provisions is envisioned in the program to enhance their experience.

I have tried to address all the possible characters of cinematic architecture to the elements of architecture in this project.

The movement of users is sensitively designed throughout the museum till they leave the campus.

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REFERENCES Sound Descriptions of Haptic Experiences of Art Work by Deafblind Cochlear Implant Users Riitta Lahtinen, Camilla Groth and Russ Palmer Overview of the National Center on Deaf-Blindness (NCDB)Presented by Megan Cote, Architecture as Film: Animation and the Phenomenological Experience

By Stephen R. Duck B.S., Architecture University of Texas at Arlington, 1991 Perception of Sound: A Study of Selected Nollywood Video Films Uchechukwu C. Ajiwe, Samuel O. Chukwu-Okoronkwo International Journal of Audiology 2002; Jerker Ronnberg* f J Eva Sumuelsson Erik Borg f Exploring the perceived world of the deaf-blind: On the development of an instrument Mattias Ekman Architecture and the Spatial Frameworks of Memory Diagrams of Diagrams: Architectural Abstraction and Modern Representation Anthony Vidler ARCHFILM: CINEMA AND THE ARCHITECTURAL PROMENADE Dominic Michael Aello Master of Architecture, 2011 The Oxford History of World Cinema EDITED BY GEOFFREY NOWELL-SMITH Filmic Architecture : On Motion Perspective in an Architectural Synthesis By Kyoung Eun Kwon SPATIAL EXPERIENCE NARRATIVE AND ARCHITECTURE BY ERA HADLEY REPORT AMANDA CLARKE FEB 2012 Bruno, Giuliana. Atlas of Emotion : Journeys in Art, Architecture, and Film. New York : Verso, 2002. Print.

EARLY FILM SEMIOTICS AND THE CINEMATIC SIGN By JOHN PHILIP HEWAK, B.A. From Moving Image to Moving Architecture A discussion of the “space-time” phenomenon of the twentieth Century, with particular reference to architecture, moving image, And music.

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